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Chicago Tribune
a day ago
- Business
- Chicago Tribune
Kenneth Norgan, stalwart patron of Harris Theater, dies
Chicago businessman and philanthropist Kenneth Norgan was on the board of several local institutions including the Lyric Opera of Chicago and the Harris Theater for Music and Dance, where he was the founding sponsor of the 'Beyond the Aria' series. 'Ken's 10-year commitment to underwriting our premier series, 'Beyond the Aria,' was legendary … raising awareness of opera and classical music while building relationships one by one,' said Harris Theater co-founder Abby McCormick O'Neil. 'We bonded over the years as friends who both loved the mission of the theater and everything it was trying to do to capture and build an audience.' Norgan, 82, died of complications of a pulmonary embolism on June 9 at Northwestern Memorial Hospital, said Matt Olaveson, a longtime friend and fellow Swedish American Museum board member. A Streeterville resident, Norgan previously had lived in Lake Forest. Born in the North Side Lincoln Park neighborhood, Norgan grew up in Lincolnwood and was the son and grandson of the owners of the Norgan Pontiac auto dealership on the Northwest Side. When he was a teenager, his parents agreed to invest in a new fast-food business founded by their friend Ray Kroc, and in short order, Norgan was working at the first franchised McDonald's restaurants that his family bought, in Glenview and Libertyville. After receiving bachelor's and master's degrees in linguistics from the University of Michigan, Norgan taught German at Maine South High School in Park Ridge until 1971, when he rejoined his family's business. Ultimately, he owned and oversaw 13 McDonald's franchise restaurants in the northern suburbs. Norgan was a founding member of Ronald McDonald House Charities, an organization that provides housing for the families of hospitalized children. In 2010, Norgan was a co-chair of a campaign to build the 80-room, 16-story Ronald McDonald House at 211 E. Grand Ave. in Streeterville, near Lurie Children's Hospital. The $40 million facility opened in 2012. Norgan also was a longtime board member and a former board chair for the Harris Theater, which in November 2003 opened a nearly 1,500-seat theater in Millennium Park that offers a performing space for small and medium-sized music and dance organizations. 'His passion for music and dance was unwavering,' said Michael Tiknis, the Harris Theater's former president and managing director. 'He was always either at a performance or on his way to one.' Tiknis recalled traveling with Norgan to Hamburg, Germany, to see the Hamburg Ballet as part of the preparation to bring that troupe to the Harris. Harris Theater President and CEO Lori Dimun said Norgan's devotion to the theater was 'beautifully expressed' through his role as the founding supporter of the 'Beyond the Aria' series, which was launched during the 2014-15 season. The series brings together stars from the Lyric Opera of Chicago and emerging artists from the Ryan Opera Center. ''Beyond the Aria' reflected everything Ken loved — artistic excellence, intimate connection between performers and audience, and the joy of experiencing something deeply personal and movingly,' Dimun said. 'Many of our longtime subscribers were introduced to 'Beyond the Aria' because Ken invited them. He didn't just support the series — he built a beautiful community around it.' Dimun also highlighted Norgan's work in developing the Harris Theater's partnership with Ronald McDonald House Charities, which, she said, 'became a cornerstone of our community engagement work.' O'Neil noted that Norgan always tried to avoid the spotlight when marking milestones in the Harris Theater's history. 'He never wanted the attention or the spotlight and actually was quite shy. As a result, we became a bit of a comic routine — I always wanted him at the podium with me and egged him on to speak,' O'Neil said. 'In keeping with who he was, Ken with a smile on his face would say as little as possible when I would ask him to speak. Over the years, we made donors laugh with our routine that just organically grew out of my determination to make him say something and his resolve to be as silent as possible.' Norgan also served on the boards of the Lyric Opera of Chicago and the Ryan Opera Center. Proud of his Swedish heritage, he also served on the boards of the Swedish American Museum and the foundation board of Swedish Covenant Hospital. 'Ken got involved with the Swedish American Museum on many levels,' said the museum's co-founder and former executive director, Kerstin Lane. 'Ken was a gentle soul with much to give to this world.' Norgan also had a home in southwest Michigan for many years. Norgan is survived by his partner of 28 years, Jose 'Pepe' Conforme; and a brother, William. A memorial service will take place on Sunday, July 27, at the Harris Theater, 205 E. Randolph St., Chicago.
Time Out
17-06-2025
- Entertainment
- Time Out
These three Chicago restaurants took home James Beard Awards last night
Chicago has a storied history with the James Beard Foundation Awards, taking home a whopping 50 trophies since the culinary honors hosted its first ceremony back in 1991. And that connection triumphantly continued at the 2025 James Beard Restaurant and Chef Awards, which were held at the Windy City's own Lyric Opera of Chicago—its home base through 2027—on Monday, June 16, where two top-rate local spots got their well-deserved dues. Chicago had 22 semifinalists up for awards in categories like Outstanding Restaurant, Outstanding Chef and Best New Restaurant, two of which ultimately took home a coveted medal. First-time nominee Kumiko —Julia Momose's elegant West Loop bar that pairs Japanese omakase with bespoke cocktails to sublime results—was rightfully crowned this year's Outstanding Bar, beating out worthy competitors like Scotch Lodge (Portland, OR), The Lovers Bar at Friday Saturday Sunday (Philadelphia, PA), Water Witch (Salt Lake City, UT) and Wolf Tree (White River Junction, VT). And over in the Best Chef: Great Lakes category (which honors top toques in the states of Illinois, Indiana, Michigan and Ohio), Noah Sandoval of two-Michelin-starred Oriole in the Fulton River District, continuing a nice little streak for Chicago-area chefs. This is the fourth time in five years that a local chef has won in the category, with Sandoval joining Kasama 's Tom Flores (2023) and Genie Kwon (2022) and Virtue 's Erick Williams (2021). What a group! Outside of the competitive categories, a longtime Chicago favorite also got some James Beard love this year: Lem's Bar-B-Q, the longstanding barbecue joint in Greater Grand Crossing, was the recipient of one of the foundation's 2025 America's Classics Award, which recognizes 'locally owned restaurants with timeless appeal that serve quality food and are beloved by their communities.' Lem's was joined by fellow iconic eateries including the Pioneer Saloon in Ketchum, ID; Sullivan's Castle Island in Boston, MA; Lucky Wishbone in Anchorage, AK; Dooky Chase in New Orleans, LA; and Gaido's in Galveston, TX.
Chicago Tribune
17-06-2025
- Entertainment
- Chicago Tribune
James Beard Awards 2025: Chefs, celebrities and notable Chicagoans walk the red carpet
To kick off the 2025 James Beard Restaurant and Chef Awards red carpet outside the Lyric Opera of Chicago, Kristen Reynolds, the new president and CEO of Choose Chicago, made it loud and clear: Chicago has every intention of keeping the coveted awards in the city. 'We are definitely keeping the James Beard Awards beyond 2027,' Reynolds said while walking the star-studded red carpet. 'I mean, we are the host of 'The Bear!' We have to have the James Beard Awards in Chicago, everybody relates Chicago with cuisine and world-class dining, so it's a perfect location.' This year commemorates the 35th anniversary of the awards, which have been held in Chicago since 2015. The awards are currently slated to be held in Chicago through 2027, a move that was announced in 2018, but there hasn't been official word if it will stay in the city beyond 2027 or move elsewhere. Mayor Brandon Johnson, who walked the red carpet a little after 5:30 p.m. said he will do everything in his power to prioritize keeping the award show in Chicago. 'I know they can go anywhere else in the world, but I think it's only fitting here, particularly a city, that a black Haitian immigrant and a Potawatomi woman established — a city of immigrants from around the world have found refuge here in Chicago. The migration from the South, like my family, the 77 unique neighborhoods, it really is the spices and the different seasonings that are not only on the plates across restaurants in Chicago, but it really reflects the beauty of our city as a whole,' Johnson said. Awards show co-host Andrew Zimmern, best known for shows such as the 'Bizarre Foods' franchise, emphasized the significance of the event, speaking about the diversity of Chicago's culinary scene. Zimmern highlighted the role chefs play in social justice issues, including immigration, food waste, the climate crisis, pay equity, gender equity and healthcare. 'The magic of these awards is that there are a lot of people who have toiled in anonymity for a long time — they're going to win an award tonight and it's going to change their life, it's going to change their business, it's going to change their community, and it's going to change our country for the better,' Zimmern said on the red carpet. 'And what's going to happen is we're going to have more advocates out there who are winners, who people are going to pay attention to. We're going to have more hopeful warriors on our side. We can sit here in despair about the national issues at hand that negatively affect us, but I truly believe that the antidote to despairing is hope.' Zimmern noted chefs such as Jose Andres, who have been actively involved in providing humanitarian aid to individuals worldwide, including Palestinians in Gaza. The crowded red carpet was a proud moment for several Chicago nominees, including Thai Dang of HaiSous for the Best Chef: Great Lakes category, who expressed immense joy at being named a finalist. Dang has been a semifinalist in the Great Lakes category four times. 'I'm feeling incredible, honestly it's an incredible freaking feeling,' Dang said. 'To finally make it and be here on this red carpet and walk among great people that have been doing this for years, it's such an incredible honor. I don't care to win or lose, I feel like a million bucks. I feel like I've won.'
Chicago Tribune
26-03-2025
- Entertainment
- Chicago Tribune
In Lyric Opera's ‘The Listeners,' one little sound drives a woman to the edge
Some describe it as a giant, idling engine. Some say it's like the whirr of a generator. Others swear it comes straight from the center of the Earth. About 2% of the global population reports hearing what researchers and conspiracy theorists alike call 'the Hum.' The real-life phenomenon, which is still unexplained, inspires a new opera at Lyric Opera of Chicago from March 30 to April 11: 'The Listeners,' by composer Missy Mazzoli and librettist Royce Vavrek. The opera follows suburban schoolteacher Claire Devon (Chicago-born soprano Nicole Heaston, in her house debut), who is plagued by the Hum. Over the course of the opera, Claire learns she's not alone. She joins a cultlike community of 'Listeners,' a decision that alters the course of her life. The opera's scenario was devised by writer Jordan Tannahill, who has since adapted the story into a novel and BBC miniseries. After pandemic delays, 'The Listeners' debuted in 2022 at the Norwegian National Opera. Productions by co-commissioners Opera Philadelphia and, now, Lyric have followed. At the time she connected with the Tribune, Mazzoli — also the Chicago Symphony's composer-in-residence from 2018 to 2021 — had just arrived in Chicago from Essen, Germany, where 'The Listeners' is enjoying a second brand-new production. Not bad for an opera that's barely been in the world for two and a half years. The following conversation has been condensed and edited for clarity and flow. Q: Over this opera's short lifespan, it's already inspired two different productions. What was it like to experience it with a totally new vision in Essen, and how did it differ from the production that we're going to see here in Chicago? A: Besides some Zoom meetings with the dramaturg and director, I was not part of making the production in Germany at all. It was really surreal to sit down and not know what was going to happen. The production is much more abstract, symbolic and psychological. For example, the house of the protagonist, Claire, is just this big neon sign that says 'ANGER' in huge, 10-foot-tall letters. At one point in the German production, a character came out into the audience waving a very realistic gun before a fake SWAT team arrested him in the aisle. That would never happen in America. I guess (the short lifespan) sounds quick, but the thing is, 'Listeners' was really delayed because of the pandemic. It was supposed to premiere in Philly in 2021; instead, they pushed it back by two years and Philly had to go second. And I've written one and a half operas since 'The Listeners' — I'm onto other crazy stuff. So, it's interesting. Q: Those years in question have been eventful, to say the least. Are there parts of the work you're hearing or seeing differently now? A: I hate to say this, but you can't get away from it: The piece was always in a small, small part a reaction to the first Trump administration. One of the major themes of the work is what happens when a charismatic leader manipulates a population's vulnerabilities and uses them to his or her own ends. Unfortunately, that has new relevance. There's also a line (from) back in 2022 where Claire is singing about all of her lost potential, which is another big theme of the work. She has this line where she says, 'I could have been the president of the goddamn United States.' Now, obviously, to see a Black woman standing up there singing that. … It used to be funny. It's not funny anymore. Q: Claire taps into her inner 'wildness' in the opera. That, plus the remote desert setting, reminds me a bit of 'Proving Up.' ('Proving Up,' Mazzoli's 2018 opera about American homesteaders, was supposed to be performed at Lyric in January 2022 but was canceled by a rise in COVID.) Both operas explore the edges of civilization, and the things that can happen in that liminal space. Do you see similarities between those projects? A: I think of both as being part of an American trilogy of operas. The first one is 'Proving Up,' the second one is 'The Listeners,' and the third is 'Lincoln in the Bardo' (Mazzoli's forthcoming adaptation of the George Saunders novel premieres at the Metropolitan Opera in fall 2026.) They all look at how people relate to each other in American society. There's one similarity I thought of just now, which is the way that I write the villains in both 'Proving Up' and 'The Listeners.' The Sodbuster character in 'Proving Up' and Howard Bard, the leader of this group in 'The Listeners,' both sort of take up too much space. Everywhere else, it's a very fast-paced opera. And then Howard comes out, and the whole world needs to breathe with him. Same thing with the Sodbuster — he takes his damn time. Their control is what I wanted to convey. Q: The other two operas in that American trilogy are adaptations of existing stories — but then again, opera is an art form that's very friendly to adaptation. What made you and Royce Vavrek, your librettist, want to spring for an original story this time? A: We thought of that right away. So, when we contacted Jordan, our assignment was, 'What story would you tell first on the operatic stage?' Certainly, the sonic element of the Hum came out of that prompt. 1 of 3 Composer Missy Mazzoli worked with librettist Royce Vavrek to create "The Listeners" as a co-commission for Lyric Opera of Chicago, Norwegian National Opera and Opera Philadelphia. (Caroline Tompkins) Q: The Hum… How is it conveyed in your score? A: That was a big challenge. I knew I wanted the audience to hear the Hum at some point, but I decided I wanted them to hear it very far into the opera. You spend the first bit of the opera thinking these people are crazy, then you hear it. The question is, in a contemporary opera full of strange sounds, how do you create a sound where people are like, 'Oh, that's the Hum'? The answer is through electronics — it's the first electronic sound we hear. I worked with a great sound engineer, Daniel Neumann, who helped me with the surround-sound elements of it. There's no bad seat for the Hum. But every seat in the house has a different experience of it, which is also important. It's not just about hearing the sound of the Hum: It's about feeling the pressure that these Listeners feel. It's a very intense sound that swirls around and hopefully has an oppressive effect. Q: The sound is depicted as crazy-making, for lack of a better word. The act of going mad — and specifically women going mad — is something opera historically loves to depict. In what ways were you thinking about gender in this opera, if at all? A: I think gender plays into the cult dynamics a lot. So does this other, parallel theme of squashed potential. That idea was based on a lot of the women in my family. My mom always wanted to be an architect. But she was told she could either be a nurse or a teacher, so she was like, 'I guess I'll be a teacher.' Her strategic brain would have made her a great architect, but she filtered that skill into other things. Like, she will kick your ass at cards and chess. It also comes out in darker ways, like frustration and latent anger. That experience of feeling like you're not living the life you want to lead, despite everyone around you saying your life is great, you have this great family, this great job. … I see all the women in my family feeling that in a very strong way. I tried to portray that bubbling up in Claire.
Chicago Tribune
16-03-2025
- Entertainment
- Chicago Tribune
Review: A Chicago ‘La Bohème' at Lyric Opera turns winter into spring into winter
Saturday's spring opener at the Lyric Opera of Chicago took place as a fool's spring gave way to the reality of the calendar, as a green sea of St. Patrick's Day revelers, clad for the hopes of April, discovered just how quickly March can turn frigid on you. The audience for 'La Bohème' entered the doors of the great opera house in one season and exited in entirely another. Giacomo Puccini's Mimì, who understood the power of seasonal change better than anyone in the operatic canon, surely would have sympathized, singing as she does about how loneliness is most acute in winter, when even the sun denies its companionship. She claims that the first kiss of April (from her lover? from the sun?) will belong to her. Not that such a day is ever promised. Still, Melanie Bacaling's staging of 'La Bohème' — this Rogers Park-born director's debut at anything like this level — certainly has its heart more in April than March, especially given the presence of a swath of Uniting Voices of Chicago singers (formerly the Chicago Children's Choir) joining the Lyric Opera Chorus and the optimistic take from its two stars, the American lyric soprano Ailyn Pérez, also a Chicago native, and the Samoan tenor Pene Pati. The latter makes a strikingly well-received Lyric debut, seemingly relishing every moment, every note, his voice akin to a pint of Guinness in a cozy pub, or a surprisingly sensual morning. The Canadian conductor Jordan de Souza understands what part the Lyric Orchestra must play here, and so it does. Pati's Rodolfo worries for Mimì, one discerns, but even in her final moments, there he is in the corner of the garret, smiling away, dreaming of a recovery that never comes. Pérez's Mimì doesn't seem to worry about seduction either way; in this production, Rodolfo is the calm from the storm of her life. The notion of refuge is there in how they sing to each other, and how they dance in the Parisian snow, two sunny dreamers, one better off than the other but both turning to La Vie Bohème as refugees from the harshness of the wintery world beyond the Café Momus. Under its former general director Anthony Freud, the Lyric pursued its post-pandemic recovery on twin tracks: a traditional experience here, paired with something that pushes the envelope there. The latter slot this spring is occupied by Missy Mazzoli's contemporary piece 'The Listeners,' opening March 30, and the former with this lush 'La Bohème,' new to Chicago but with sets by Gerard Howland created for the Los Angeles and Dallas Operas some years ago. Howland did add a 'Waiting for Godot'-like tree for the Parisian winter exterior, but even the falling snowflakes are lit by Duane Schuler as if this were 'White Christmas,' which I don't mean as a pejorative. Costumes originally were designed by the late British designer Peter J. Hall. Lyric, of course, has produced this most accessible of operatic titles — it was the source for Jonathan Larson's musical 'Rent' and any fan of Andrew Lloyd Webber's musical repertory will hear familiar notes and chords — on and off for some 70 years. It has been a staple of the Wacker Drive repertoire since besuited and bedecked Chicagoans of the era of the first Mayor Daley came to dab their eyes. Freud clearly decided to lean into 'La Bohème's' entry-level popularity: there is a lobby exhibition of the piece's history at the Lyric and, more importantly, he predicted that the affection for the title would be a way to protect a new director like Bacaling, as well as to support a Chicago-born star (who is singing as Mimì several times around the world this year), an energetic young conductor, the Chicago-based newcomer Ian Rucker (who plays a pleasingly goofy Schaunard), and the 36-year-old Lyric favorite Will Liverman, who essays with some depth the jealous Marcello. It all paid off; the presence of the children's choir on stage was part of the reason for so many children in the house, I suspect, but it added to the sense of communal enjoyment as little kids watched and, one hopes, felt. The splendid soprano Gabriella Reyes seemed to catch this mood when she came out for her bow with Musetta's little dog, the two grinning from ear to ear, as was Peixin Chen, although the sharp-edged bass is the singer who, as Colline, gives the show at least some of its requisite gravitas. Puccini fans will leave well satisfied. 'I am always fine until that one chord,' I heard one departing woman say behind me as she protected herself against the sudden chill with the warmth of what sounded like an emotional capitulation with a familiar cue. La Vie Bohème, indeed. Chris Jones is a Tribune critic. cjones5@ Review: 'La Bohème' (3.5 stars) When: Through April 12 Where: Lyric Opera of Chicago, 20 N. Wacker Drive Running time: 2 hours, 30 minutes
