I want to begin this review by saying what a pleasure it was to see a more traditional concert performed by the Chicago Gay Men’s Chorus. Their last few concerts had been moving into a more original theatrical direction, which I felt put a strain on the chorus’s ability to give an enjoyable performance.
Sharing the evening’s program with Kansas City’s Heartland Men’s Chorus was a smart idea, especially for a Pride concert. The first act belonged to the Heartland Men’s Chorus, under the direction of Joseph P. Nadeau. Dressed in black polo shirts and khaki slacks, the chorus began their performance with a series of non-vocal sounds, such as rubbing their hands together, snapping their fingers, patting their chests, and stomping their feet. The audience was encouraged to do the same. The sounds were effects that introduced their powerful rendition of “Circle Of Life.” Soloist Todd Gregory’s performance improved over the course of, “We’re Not Lost (Naked Men),” and was very strong by the end of the song. It was also nice to hear “Parade,” a song by former Chicagoan Eric Lane Barnes performed by a chorus that was not based in Chicago.
Heartland Men’s Chorus’s interpretation of Sam Pottle’s “Jabberwocky,” complete with humorous choreography and props, was another high point of their set, and it was perfectly understandable when they received a standing ovation at the end of act one.
Dressed in white shirts with pink ties and black slacks, the Chicago Gay Men’s Chorus was a bit subdued on “Being Alive,” the opening number of the second act. They really came alive on Toch’s “Geographical Fugue,” a spoken word round that found the chorus (and longtime musical director Patrick Sinozich) moving into a new and daring direction. They also performed a lovely, layered a capella version of “Where Is Love?,” changing the pronoun to “he” (as in “Where is he?/Do I close my eyes to see?”) and a rousing rendition of Frank Wildhorn’s “Into The Fire.”
Both choruses took to the stage for the finale. Their combined forces provided for a moving reading of “Everything Possible” and a sweet and humorous “Let’s Call The Whole Thing Off.”