Performing Arts

In just over a decade, a tiny, do-it-yourself stand-up scene on the North Side of Chicago produced some of the most successful and influential stand-up comedians of their generation. Hannibal Buress, T.J. Miller, Kyle Kinane, Cameron Esposito, Pete Holmes, Beth Stelling, Matt Braunger and Kumail Nanjiani make up a partial list of names of comics who emerged from a scene that had very little industry attention—or even a home club.

It was also a scene that took a backseat to the city’s vaunted improv institution, and if we’re being completely honest, it was a scene where comics mostly performed to drunks in the backs of dingy bars on their off nights. None of it was glamorous. None of it should have worked at all. But somehow, some way, the comedians from this scene have managed to etch their own names into the Chicago comedy pantheon. The Perfect Amount of Wrong is the story of that scene, as told by its veterans.

Take a seat in the front for a journey through the first 50 years of TV in Chicago. Many of the pioneering stations there defined the early years with innovation, personaility and programming.

The history of television in Chicago begins with the birth of the medium and is defined by the city's pioneering stations. WBKB (now WLS-TV) was the principal innovator of the Chicago School of Television, an improvisational production style that combined small budgets, personable talent, and the creative use of scenery and props. WNBQ (now WMAQ-TV) expanded the innovative concept to a wider audience via the NBC network. WGN-TV scored with sports and kids. Strong personalities drove the success of WBBM-TV. A noncommercial educational station, WTTW, and the city's first UHF station, WCIU, added diversity and ethnic programming. The airwaves in Chicago have been home to a wealth of talented performers and iconic programs that have made the city one of the country's greatest television towns. Chicago Television, featuring photographs from the archives of the Museum of Broadcast Communications (MBC) and the collections of local stations and historians, gives readers a front-row seat on a journey through the fi rst 50 years of Chicago television, 1940-1990. Founded in 1982 by broadcaster Bruce DuMont, the MBC Web site offers over 10,000 digital assets.

The Balaban and Katz Theater Corporationperfected the movie palaceconcept in Chicago, creating an extremely popular pastime that contributed greatly to Chicago's cultural identity.

The Balabans started in the movie theater business in 1908 by leasing the 100-seat Kedzie Nickelodeonon Kedzie Avenue. Balaban brothers Barney and A. J. dreamed of operating 5,000-seat movie palaces, so in 1916, they joined family friends Sam and Morris Katz to form the Balaban and Katz Theater Corporation. Their mission was to offer an unrivaled theater-going experience with the finest live performances and service. They built ornate theaters, such as the Chicago, the Uptown, and the Congress Theaters, filling them with fine furnishings, antiques, and artwork.Balaban and Katzproduced live stage shows between the movies with the likes of Bob Hope, Louis Armstrong, and Benny Goodman. Sadly, only a few of these gorgeous theaters still stand today.

Author David Balaban is named after his grandfather, one of the seven Balaban brothers who ran Balaban and Katz. Join him as he shares the stories and images of grandfather and great-uncles movie theaters.

Ten years after Chicago saw its first full-time comedy club open, the landscape was decidedly different. "Stand-up comedy has exploded in the last couple of years," a club owner told the Chicago Tribune in 1985, "that's the only way to describe it: exploded." It was truly a comedy boom, with as many as 16 clubs operating at once, and it lasted nearly a decade before fading, taking with it some of Chicago's oldest comedy stages, including the Comedy Cottage, Comedy Womb, and Who's on First. Still, stalwarts like Barrel of Laughs (south) and Zanies (north) persevered. That part of the story is known; overlooked is the fact there was a comedy boom, period. To hear the story, it is as if stand-up comedy innately morphed from a dated nightclub scene to what one Chicago Sun-Times writer called "Chicago's atomic comedy blast."

Famous for being a city of broad shoulders, Chicago has also developed an international reputation for split sides and slapped knees. Watch the Chicago style of comedy evolve from nineteenth-century vaudeville, through the rebellious comics of the '50s and into the improvisation and sketch that ushered in a new millennium. Drawing on material both hilarious and profound, Chicago Comedy: A Fairly Serious History touches on what makes Chicago different from other cities and how that difference produced some of the greatest minds comedy will ever know: Amos 'n' Andy, Jack Benny, Lenny Bruce, Del Close, John Belushi, Tina Fey, Stephen Colbert and so many, many more.

Starting in the 1870s, the barns, icehouses, gymnasiums and empty theaters of central Illinois provided the practice sites for aerial performers whose names still command reverence in the annals of American circus history. Meet Fred Miltimore and the Green Brothers, runaways from the Fourth Ward School who became the first Bloomington-born flyers. Watch Art Concello, a ten-year-old truant, become first a world-class flyer, then a famous trapeze impresario and finally Ringling Brothers and Barnum and Bailey Circus's most successful general manager. The entire art of the trapeze--instruction, training, performance and management--became a Bloomington-Normal industry during the tented shows' golden age, when finding a circus flying act without a connection to this area would have been virtually impossible.

Chicago has historically been a place of great energy and a showcase of modernity. Determined to wash away the recent memories of World War I, Chicagoans in the 1920s and into the 1930s set out to enjoy themselves, creating a Golden Age of popular entertainment envied throughout the world. Chicago Entertainment Between the Wars, 1919-1939 explores in detail the various old and new playing fields of entertainment that blossomed during this time period, such as dance halls, radio studios, rodeos, theaters, public mechanical musical machines, and movie palaces.

The Willowbrook Ballroom was originally built as an outdoor dance pavilion named Oh Henry Park by Austrian immigrant John Verderbar. Wildly successful, it was enlarged and fully enclosed in 1923, and a 10¢-a-dance policy was implemented. Destroyed by fire in 1930, a determined Verderbar hired a crew of 200 carpenters, and a new facility was built to the tune of a then-staggering $100,000. In 1959, it was renamed the Willowbrook Ballroom, and dancers have since enjoyed the big band sounds of Count Basie, Teddy Lee, Harry James, and Big Bad Voodoo Daddy. As record crowds flocked to the 6,000-square-foot dance floor, the Willowbrook also became a favorite setting for weddings, proms, and other once-in-a-lifetime events. Today, at the height of its popularity, the Willowbrook is one of only five ballrooms of its magnitude in the United States and the only one remaining in the greater Chicagoland area.

Local thrill-seekers at the turn of the century knew that all the action was at the Driving Park. But few today know the drama buried beneath a West End subdivision. At the height of the horse racing craze after the Civil War, prominent Rockford businessmen raised $25,000 to build a harness racetrack there in 1890 (the name refers to the person in the cart pulled by a horse—the driver). The versatile venue evolved to stay relevant, weathering the 1893 financial panic and welcoming bicycle mania. Events ranged from high school track meets to early auto racing. Folks saw a soccer game one week and a circus the next. Controversy erupted at times, from gambling and drinking to a murder and a KKK rally. Amanda Becker reveals this colorful story nearly forgotten since 1938.