

This afternoon, Lukaba Productions board president Laura Michaud confirmed blog-posted reports that a purchase of the 33-year home of Theatre Building Chicago is under way. Investors known as 1225 W. Belmont LLC have signed a purchase contract for the three-theater complex at that address. Michaud said the investors will be putting "a substantial amount of money" into improvements for the building, and Lubaka will be the long-term tenant and building manager. "Our intent is to run the building much as it has been run," Michaud added. "Our philosophy has always been to be an incubator."
According to Michaud, Lukaba has been looking for space for three or four years and was quick to respond when they learned that the TBC building, which hadn't been listed on the commercial market, was available. "The details are still being ironed out. . . . We're hoping to keep as much of the TBC staff as we can." An official announcement will be released tomorrow, she said.
Late on Wednesday, two days after Chris Jones reported on his Tribune theater blog that their building had been sold, staff members at Theatre Building Chicago were still apparently in the dark about the future of TBC's home and their jobs. Executive director Sean Cercone, who's been at TBC only since January 1, said word that the building at 1225 W. Belmont had been sold was only "a rumor at this time." Apparently they hadn't heard from TBC board member Craig S. Wilson, who confirmed the sale on Jones's blog this afternoon.
Jones's March 15 report, which implied that Lukaba Productions, which has produced the Chicago Sketch Comedy Festival at TBC for years, was the likely purchaser, was followed this afternoon by a report that while Lukaba would take over management of the building, the purchaser was an unidentified "separate investment group."
Liza Minnelli, whose 2008 Liza's at the Palace concert won a Tony Award for Best Special Theatrical Event, is coming to town Sunday, June 6, for a one-night stand at the Chicago Theatre, 175 N. State. Liza Minnelli and Friends will feature jazz pianist Billy Stritch leading a quartet as Minnelli presents an evening of classic American popular songs. Tickets are $55-$125, go on sale at noon on March 20, and can be purchased at ticketmaster.com or 800-745-3000.
Minnelli is no stranger to the Chicago Theatre. In the 1980s she appeared there with Frank Sinatra and Sammy Davis Jr., in a "Rat Pack revival" concert dubbed The Ultimate Event. In 2000, she was scheduled to perform here in a revue of songs from films directed by her father, Vincente Minnelli, but had to cancel for health reasons.
Before their 6:30 PM performance tomorrow at the Harris Theater (205 E. Randolph), Giordano Jazz Dance Chicago will host a free reception featuring company dancers and the associate board of directors. Guests will enjoy free wine, a live performance by singer-songwriter Kevin Mileski, and the chance to purchase half-price tickets to that night's show, Ovations — a showcase of their greatest hits. Tickets can be purchased at the door, at 312-334-7777, or online— use promo code AB01 to get the discount.
Veteran stage producer Michael Cullen, owner of the Mercury Theater, 3745 N. Southport, has been extraordinarily generous with his space over the years, donating it for benefit performances, theater community meetings, and other events. Now Cullen needs other people's help. In January he suffered a stroke. He's currently at Schwab Rehabilitation Institute, undergoing extensive therapy to restore his powers of movement and speech, and he'll need more care when he returns home. Thing is, he's got neither health nor long-term care insurance, On Monday, April 19, the Royal George Theatre will host a benefit for Cullen featuring an entertainment line-up to be announced. Organizers of the benefit, which begins at 7:30 PM, are suggesting a $50-$75 donation. For more information or to donate directly, go to michaelcullenrecoveryfund.org.
The producers of Billy Elliot, Elton John's musical about a British boy who dreams of becoming a ballet dancer, have announced $25 rush tickets for every show. Previews for the Chicago engagement of the Broadway hit begin March 18 at the Ford Center for the Performing Arts Oriental Theatre, 24 W. Randolph, and the production officially opens April 11. Rush seats go on sale the day of each performance starting at 10 AM (11 AM on Sunday). Ten rush seats have been allocated for each show, and more seats may be made available. There is a limit of two rush tickets per customer. Full-price tickets range from $28 to $100, which would buy a lot of ballet lessons.
The State Theatre of Chicago is promoting what it calls the "Tangled Web"—encouraging audience members to turn on their cellphones during the March 11 performance of the company's Ajax/Antigone so they can "actively participate via social media, Facebooking their opinions and tweeting pics of the show in real time, breaking down the third wall." (Actually it's the fourth wall, unless they want to get the set designer pissed off.) According to artistic director Tim Speicher, "This is the 21st century, yet there's a temptation to treat theater as if it were the 19th."
Maybe he's right. In the 19th century and all the centuries before, theater was intense, immediate, and non-negotiably real. But in 2010, it seems, it must be virtual, processed, and networkable—so much second-hand sensation. Like the proverbial tree in the forest that doesn't fall unless someone hears it, a show isn't real until it's been blogged.
What a clever way to get a paying crowd to hype your production while ignoring it at the same time.
The theater is where we go to find the illusions that tell the truth. It can't be reduced to an art form twice removed from its vibrant actuality. It's the ultimate real deal—in your face and of the moment. Diluting it with a bored or boring twitter does the art no favors.

Born in Decatur and raised in Santa Monica, Martin became one of the leading actresses of her generation, consistently working to within four years of her death. Martin attended UCLA and studied at the Max Reinhardt School and Actors’ Lab. After moving to New York City with first husband, screen composer Robert Emmett Dolan, she became a first-year member of the Actors’ Studio.