
Review: Craving Andrew Lloyd Webber power ballads? Try ‘Tell Me On a Sunday' at Theo
If you are a fan of the excellent Max 'dockumentary' called 'Yacht Rock,' a look without condescension at a genre of music mastered by the likes of Michael McDonald, Toto and Christopher Cross, let me draw your attention to Andrew Lloyd Webber's 'Tell Me on a Sunday,' now at Evanston's Theo Theatre on Howard Street.
Lloyd Webber is of course the composer of such mega-musicals as 'The Phantom of the Opera' and 'Sunset Boulevard,' shows influenced more by Giacomo Puccini than the Doobie Brothers. But in 1980, he wrote this solo piece with lyricist Don Black and input from Tim Rice. It's really a one-act song cycle, about an eternally optimistic young English woman (not unlike Aimee Lou Wood's character in 'White Lotus') trying to find her way in the transactional New York City.
This isn't a show anyone would likely write now; the male-created character, originally known only as 'The Girl,' mostly is defined through a series of failed relationships punctuated by letters home to her mum. But it's interesting because it came as Lloyd Webber was exploring a new genre of lite rock, to use the 1980s term. And 'Tell Me on a Sunday' contains three of his best power ballads: 'Take That Look Off Your Face,' which went to number three in the U.K. charts, 'Unexpected Song,' a killer earworm, and 'Come Back with the Same Look in Your Eyes,' a deliciously emotional song of longing and regret.
Since 'Tell on a Sunday' is only about 70 minutes, it was combined on Broadway and in London with a second movement-oriented piece under the billing 'Song and Dance.' But 'Tell Me on a Sunday,' rarely is performed today.
The show at Theo features Dani Pike in the one and only role, with a live band in the back of this intimate space. Notably, it's directed by Keely Vasquez, who worked for years with the great Barry Manilow all over the world and knows her way backward and forward around this particular genre.
Pike is completely different from Marti Webb and Bernadette Peters, both of whom I saw play this role eons ago. Her voice is rich, gritty and unabashedly pop-forward, meaning that these particular Lloyd Webber numbers sit well within her performance. This archetype is a tough character to pull off, but Pike fleshes out her force of personality and vulnerability to circumstance very nicely indeed, even as she and Vasquez clearly understand that this show is about the songs and, well, about the 1980s and all it represented.
Anathema for some. Retro pleasure for anyone with tastes like mine. Especially when sung and acted at this level.
Chris Jones is a Tribune critic.
cjones5@chicagotribune.com
Review: 'Tell Me on a Sunday' (3.5 stars)
When: Through April 20
Where: Theo Theatre, 721 Howard St., Evanston
Running time: 1 hour, 10 minutes
Tickets: $45-$60 at 773-939-4101 and theo-u.com
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Boston Globe
2 hours ago
- Boston Globe
Who should win Tony Awards, and who will win?
Will/Should win: 'Maybe Happy Ending' Also nominated: 'Buena Vista Social Club,' 'Dead Outlaw,' 'Death Becomes Her,' 'Operation Mincemeat' 'Operation Mincemeat,' a scrappy British comedy about an improbable scheme to trick the Nazis using a corpse with a fake identity, is an amusingly ribald farce until it turns tiresome and wan. 'Buena Vista Social Club,' inspired by the celebrated 1996 album by veteran Cuban musicians, comes most alive in the invigorating music and propulsive dancing. With sardonic songs and a sharp-witted book, 'Death Becomes Her' is a delicious and demented story about two frenemies who launch an absurdly escalating battle after they discover a potion that grants eternal life. Yet the big showdown here pits 'Dead Outlaw,' another idiosyncratic musical about a corpse, against 'Maybe Happy Ending,' an inventive, electrifying show about two robots falling in love. The former boasts mordant humor and a rollicking garage-rock score to tell the strange story of a lawbreaker who finds infamy in the afterlife as a sideshow cadaver. The latter is a heartbreaking budding romance between two androids that's really about our own humanity — the connections we share, the nature of consciousness, and the ephemerality of life itself. Either would be a worthy choice. Advertisement Best play Will win: 'Oh, Mary!' Should win: 'John Proctor Is the Villain' Also nominated: 'Purpose,' 'The Hills of California,' 'English' Sanaz Toossi's Pulitzer Prize winner, 'English,' paints a compelling portrait of Iranian adults preparing for an English proficiency exam, but the drama never really lifts off. Jez Butterworth's 'The Hills of California' moves with propulsive energy to its shattering climax in a story that shifts between an ambitious mother in 1950s England and her adult daughters, in various states of wreckage, returning to their childhood home years later. Branden Jacobs-Jenkins' 'Purpose,' which recently won the Pulitzer Prize, centers on a political clan led by a towering civil rights pioneer. As the secrets, lies, recriminations, and resentments come tumbling out during a fraught gathering, the play rides a roller coaster of juicy drama. Kimberly Belflower's riveting and timely 'John Proctor Is the Villain,' Advertisement Best revival of a musical Will win: 'Sunset Boulevard' Should win: 'Gypsy' Also nominated: 'Floyd Collins,' 'Pirates! The Penzance Musical' Adam Guettel and Tina Landau's fact-based 'Floyd Collins,' about a scrappy spelunker trapped inside a Kentucky cave whose plight captures the attention of the nation, has a soaring score but can feel more diffuse than gripping at times. 'Pirates!' is frolicsome fun, with writer Rupert Holmes riotously revamping the Gilbert and Sullivan operetta, and David Hyde Pierce delivering a deadpan rendition of the tongue-twisting 'Modern Major-General Song.' But this is a two-horse race between Jamie Lloyd's radical reinvention of Andrew Lloyd Webber's lugubrious 'Sunset Boulevard' and the fifth Broadway revival of the landmark musical 'Gypsy.' The George C. Wolfe-directed production examines the racial implications of Rose and her children being played by Black women, with Audra McDonald delivering a revelatory 'Rose's Turn.' Yet voters may choose 'Sunset' due to Lloyd's post-modern revitalization, which features live video and camera crews following actors around onstage (and out of the theater!), beamed onto a 23-foot-tall screen. The pictures may have gotten bigger here, but does that make a winning musical? Francis Jue, left, and Daniel Dae Kim in "Yellow Face." Joan Marcus Best revival of a play Will/Should win: 'Yellow Face' Also nominated: 'Eureka Day,' 'Our Town,' 'Romeo + Juliet' The rave-inspired adaptation of 'Romeo + Juliet,' starring Kit Connor and Rachel Zegler as the star-crossed lovers, was wildly engaging, if unfocused and over-stylized. Jonathan Spector's 'Eureka Day' made a case for extreme relevancy with its explosive satire of woke parents dealing with a mumps outbreak at an elite private school and a heated vaccination debate that erupts. The play's pièce-de-résistance is a virtual meeting that goes off the rails, with the characters looking on in horror at the increasingly vitriolic live-streamed commentary. Still, 'Eureka Day' may be overtaken by David Henry Hwang's hall-of-mirrors farce 'Yellow Face,' Advertisement Joy Woods, left, and Audra McDonald. Julieta Cervantes/Photo: Julieta Cervantes Best leading actress in a musical Will/Should win: Audra McDonald, 'Gypsy' Also nominated: Nicole Scherzinger, 'Sunset Boulevard'; Megan Hilty, 'Death Becomes Her'; Jennifer Simard, 'Death Becomes Her'; Jasmine Amy Rogers, 'Boop! The Musical' This category is usually chock-a-block with battling Broadway divas, and this year is no exception. Broadway newcomer Rogers, Advertisement Best leading actor in a musical Will/Should win: Darren Criss, 'Maybe Happy Ending' Also nominated: Jonathan Groff, 'Just in Time'; Jeremy Jordan, 'Floyd Collins'; Tom Francis, 'Sunset Boulevard'; Andrew Durand, 'Dead Outlaw'; James Monroe Iglehart, 'A Wonderful World: The Louis Armstrong Musical' This category is rife with nominees pulling off head-turning theatrical stunts. A smoldering Francis, as disillusioned screenwriter Joe Gillis, Advertisement Sarah Snook in "The Picture of Dorian Gray." Marc Brenner Best leading actress in a play Will/Should win: Sarah Snook, 'The Picture of Dorian Gray' Also nominated: Laura Donnelly, 'The Hills of California'; Mia Farrow, 'The Roommate'; LaTanya Richardson Jackson, 'Purpose'; Sadie Sink, 'John Proctor Is the Villain' Farrow, 80, transformed from a mousy naif to a scheming thrill-seeker after befriending a streetwise grifter in 'The Roommate.' Donnelly, too, made a radical transformation playing dual roles — as a stage mother desperate to turn her daughters into singing stars, and the prodigal child who returns decades later, world-weary and broken. Richardson Jackson imbues her matriarch with mama-bear warmth and formidable forcefulness as she bends the other family members to her will. Then there's 'Stranger Things' ingenue Sink, as a fierce, combustible teenager who calls out the BS and blows the whistle on some bad behavior. But can anyone beat 'Succession' powerhouse Snook? Not bloody likely. In a cutting-edge adaptation of Oscar Wilde's transgressive novel, Snook delivers a wry, virtuosic solo performance, bringing to life 26 different characters who are Best leading actor in a play Will/Should win: Cole Escola, 'Oh, Mary!' Also nominated: George Clooney, 'Good Night, and Good Luck'; Jon Michael Hill, 'Purpose'; Harry Lennix, 'Purpose'; Louis McCartney, 'Stranger Things: The First Shadow'; Daniel Dae Kim, 'Yellow Face' Will Clooney win for his Broadway debut as legendary newsman Edward R. Murrow in the adaptation of his 2005 film. Don't bet on it. The play,

5 hours ago
For Ana de Armas, Keanu Reeves' co-star 10 years ago and once again, 'Ballerina' is a pirouette
NEW YORK -- Years before Ana de Armas was using an ice skate to slice a neck in 'From the World of John Wick: Ballerina,' she co-starred with Keanu Reeves in a much different film. The erotic thriller 'Knock Knock,' released in 2015, was de Armas' first Hollywood film. De Armas, born and raised in Cuba, had just come to Los Angeles after acting in Spain. English was new to her, so she had to learn her lines phonetically. 'It was tough and I felt miserable at times and very lonely,' she says in an interview. 'But I wanted to prove myself. I remember being in meetings with producers and they would be like, 'OK, I'll see you in a year when you learn English.' Before I left the office, I would say, 'I'll see you in two months.'' Since 'Knock Knock,' her rise to stardom has been one of the last decade's most meteoric. She was radiant even as a hologram in 'Blade Runner 2049.' She stole the show in Rian Johnson's star-studded 'Knives Out.' She breezed through the Bond movie 'No Time to Die.' She was Oscar nominated for her Marilyn Monroe in 'Blonde. ' And now, 10 years after those scenes with Reeves, de Armas is for the first time headlining a big summer action movie. In 'Ballerina,' in theaters Friday, de Armas' progressive development as an unlikely action star reaches a butt-kicking crescendo, inheriting the mantle of one of the most esteemed, high-body-count franchises. 'It's a big moment in my career, and I know that. I can see that,' she says. 'It makes me look back in many ways, just being with Keanu in another film in such a different place in my career. It definitely gives me perspective of the journey and everything since we met. Things have come far since then.' While de Armas, 37, isn't new to movie stardom, or the tabloid coverage that comes with it, many of her career highlights have been streaming releases. 'The Gray Man' and 'Blonde' were Netflix. 'Ghosted' was Apple TV+. But 'Ballerina' will rely on de Armas (and abiding 'John Wick' fandom) to put moviegoers in seats. Heading in, analysts expected an opening weekend of around $35-40 million, which would be a solid result for a spinoff that required extensive reshoots. Reviews, particularly for de Armas playing a ballerina-assassin, have been good. 'There's a lot of pressure,' says director Len Wiseman. 'It's a lot to carry all on her shoulders. But she'll be the first person to tell you: 'Put it on. Let me carry the weight. I'm totally game.'' De Armas, whose talents include the ability to be present and personable on even the most frenzied red carpets, has done the globe-trotting work to make 'Ballerina' a big deal: appearing at CinemaCon, gamely eating hot wings and cheerfully deflecting questions about her next film, 'Deeper,' with Tom Cruise. Yet for someone so comfortable in the spotlight, one of the more interesting facts about de Armas is that she lives part time in that bastion of young A-listers: Vermont. 'Yeah, it surprised many people,' she says, chuckling. 'As soon as I went up there, I knew that was going to be a place that would bring me happiness and sanity and peace. But I know for a Cuban who doesn't like cold very much, it's very strange.' Winding up in northern New England is just as unexpected as landing an action movie like 'Ballerina.' She grew up with the conviction, from age 12, that she would be an actor. But she studied theater. 'I never thought I was going to do action,' de Armas says. 'What was relatable for me was watching Cuban actors on TV and in movies. That was my reality. That's all I knew, so the actors I looked up to were those.' De Armas also had bad asthma, which makes some of the things she does in 'Ballerina' — a movie with a flamethrower duel — all the more remarkable to her. 'I couldn't do anything,' she remembers. 'I couldn't run. I sometimes couldn't play with my friends. I had to just be home and be still so I wouldn't get an asthma attack. So I never thought of myself as someone athletic or able to run just a block. So this has been a surprise.' At 14, she auditioned and got into Havana's National Theatre of Cuba. Four years later, with Spanish citizenship through her grandparents, she moved to Madrid to pursue acting. When she arrive in LA in 2014, she had to start all over again. Now as one of the top Latina stars in Hollywood, she's watched as immigrant paths like hers have grow increasingly arduous if not impossible. The day after she spoke to The Associated Press, the Trump administration announced a travel ban on 12 countries and heavy restrictions on citizens of other countries, including Cuba. 'I got here at a time when things were definitely easier in that sense,' says de Armas, who announced her then-imminent U.S. citizenship while hosting 'Saturday Night Live' in 2023. 'So I just feel very lucky for that. But it's difficult. Everything that's going on is very difficult and very sad and really challenging for many people. I definitely wish things were different.' Chad Stahelski, director of the four 'John Wick' films and producer of 'Ballerina,' was about to start production on 'John Wick: Chapter 4' when producer Basil Iwanyk and Nathan Kahane, president of Lionsgate, called to set up a Zoom about casting de Armas. He quickly watched every scene she had been in. 'How many people would have played the Bond girl kind of goofy like that?' he says. 'I know that I can harden people up. I know I can make them the assassin, but getting the charm and the love and the humor out of someone is trickier. But she had it.' In 'Knives Out,' Stahelski saw someone who could go from scared and uncertain to a look of 'I'm going to stab you in the eye.' 'I like that in my action heroes,' he says. 'I don't want to see the stoic, superhero vibe where everything's going to be OK.' But it wasn't just her acting or her charisma that convinced Stahelski. It was her life story. ''John Wick' is all hard work — and I don't mean just in the training. You've got to love it and put yourself out there,' says Stahelski. 'When you get her story about how she came from the age of 12, got into acting, what she sacrificed, what she did, that's what got my attention. 'Oh, she's a perseverer. She doesn't just enjoy the view, she enjoys the climb.'' When that quote is read back to her, de Armas laughs, and agrees. 'Being Cuban, and my upbringing and my family and everything I've done, I've never had a plan B,' she says. 'I've never had that thing of, 'Well, if it doesn't work, my family can help.' Or, 'I can do this other career.' This was it. And I also knew, besides being the thing I loved the most, this was my survival. This is how I live. This is how I feed myself and my family. So it's also a sense of, I don't know, responsibility.' That makes her reflect back to when she was just trying to make it in Hollywood, sounding out words, trying not to disappoint directors whose instructions she could barely understand, trying not to be intimidated by the action star across from her who had just finished shooting the first 'John Wick.' 'I was so committed to do it,' she says. 'I was so invested in the trying of it, just giving it a shot. When I give something a shot, I try my best, whatever that is. Then I can actually say: I gave it a shot.'
Yahoo
10 hours ago
- Yahoo
AI-generated Pope sermons flood YouTube, TikTok
AI-generated videos and audios of Pope Leo XIV are populating rapidly online, racking up views as platforms struggle to police them. An AFP investigation identified dozens of YouTube and TikTok pages that have been churning out AI-generated messages delivered in the pope's voice or otherwise attributed to him since he took charge of the Catholic Church last month. The hundreds of fabricated sermons and speeches, in English and Spanish, underscore how easily hoaxes created using artificial intelligence can elude detection and dupe viewers. "There's natural interest in what the new pope has to say, and people don't yet know his stance and style," said University of Washington professor emeritus Oren Etzioni, founder of a nonprofit focused on fighting deepfakes. "A perfect opportunity to sow mischief with AI-generated misinformation." After AFP presented YouTube with 26 channels posting predominantly AI-generated pope content, the platform terminated 16 of them for violating its policies against spam, deceptive practices and scams, and another for violating YouTube's terms of service. "We terminated several channels flagged to us by AFP for violating our Spam policies and Terms of Service," spokesperson Jack Malon said. The company also booted an additional six pages from its partner program allowing creators to monetize their content. TikTok similarly removed 11 accounts that AFP pointed out -- with over 1.3 million combined followers -- citing the platform's policies against impersonation, harmful misinformation and misleading AI-generated content of public figures. - 'Chaotic uses' - With names such as "Pope Leo XIV Vision," the social media pages portrayed the pontiff supposedly offering a flurry of warnings and lessons he never preached. But disclaimers annotating their use of AI were often hard to find -- and sometimes nonexistent. On YouTube, a label demarcating "altered or synthetic content" is required for material that makes someone appear to say something they did not. But such disclosures only show up toward the bottom of each video's click-to-open description. A YouTube spokesperson said the company has since applied a more prominent label to some videos on the channels flagged by AFP that were not found to have violated the platform's guidelines. TikTok also requires creators to label posts sharing realistic AI-generated content, though several pope-centric videos went unmarked. A TikTok spokesperson said the company proactively removes policy-violating content and uses verified badges to signal authentic accounts. Brian Patrick Green, director of technology ethics at Santa Clara University, said the moderation difficulties are the result of rapid AI developments inspiring "chaotic uses of the technology." Many clips on the YouTube channels AFP identified amassed tens of thousands of views before being deactivated. On TikTok, one Spanish-language video received 9.6 million views while claiming to show Leo preaching about the value of supportive women. Another, which carried an AI label but still fooled viewers, was watched some 32.9 million times. No video on the pope's official Instagram page has more than 6 million views. Experts say even seemingly harmless fakes can be problematic especially if used to farm engagement for accounts that might later sell their audiences or pivot to other misinformation. The AI-generated sermons not only "corrode the pope's moral authority" and "make whatever he actually says less believable," Green said, but could be harnessed "to build up trust around your channel before having the pope say something outrageous or politically expedient." The pope himself has also warned about the risks of AI, while Vatican News called out a deepfake that purported to show Leo praising Burkina Faso leader Ibrahim Traore, who seized power in a 2022 coup. AFP also debunked clips depicting the pope, who holds American and Peruvian citizenships, criticizing US Vice President JD Vance and Peru's President Dina Boluarte. "There's a real crisis here," Green said. "We're going to have to figure out some way to know whether things are real or fake." bmc/mgs/sms