“Blue Man Group” returns reviewed by Julia W. Rath

Recommended ***  “Blue Man Group” has been thrilling audiences for the past 24 years at the Briar Street Theatre, in Chicago. But in all this time, I had never seen the show in person. Of course, I could recognize the iconic blue men from their funky TV commercials, including the one for the Intel Pentium 4 processor. So I largely knew what to expect. Nevertheless, in advance of my visit, I asked two close friends who had seen the show in previous years what they had thought of it. “Be prepared for something different, to be totally entertained,” said Friend A. “It’s unique, funny, and really something: an innovative experience [you won’t forget].” Friend B’s impressions were the polar opposite. “It’s wild, stupid, and crazy,” she said. “There’s too much loud banging. And there’s no need to throw stuff (i.e., marshmallows) into the audience.”

But now that I’ve seen “Blue Man Group” for myself, it’s finally my turn to judge! And I can clearly see both points of view. It really depends on what you are looking for in a live show. It’s great if you enjoy the primal, the primitive, and the silly… and of course, all three actors have been painted cobalt blue from head to toe. Above all, the music/noise is percussive and thunderous enough to chase all the evil spirits away.

A wide variety of cleverly drawn skits are stitched together throughout the 85-90-minute presentation. The blue men do not speak at all. Their wordless acting and expressive body language tell the whole story. I especially enjoyed the high energy that the three men created using drums, improvised musical instruments, and a variable pitched thongophone, or drumbone: a combination of a drum and trombone! It was obvious that the people sitting in the first through third rows on the main floor were going to get splashed or splattered upon (presumably by paint); the clear ponchos that they were supposed to wear had been draped neatly on the back of their seats prior to the performance—and absolutely necessary once it began. The bold lighting is exceptional, and the projection design is impactful and timed exceedingly well to accompany each clownlike activity and all of the boundless thumps and bumps and bruises. There are three (additional) musicians behind scrims as well as the five-person crew who move props around and make things work.

My guest felt that the audience participation portions were some of the best parts of the show, because they were interactive. In contrast, I didn’t care for some of the shtick and preferred the sketches that were somewhat more contemplative. (Of course, you can see how our different reactions are guided by our personalities!) One of my favorites was a skit when the blue men receive an unexpected package thrown to them from an off-stage delivery service (although I once saw a similar setup on the old Bozo’s Circus of my youth, but then I digress). I also liked when the audience got to imitate what it was like to be at a rock concert. So we got to yell and move about somewhat. What a great way to get out our frustrations! The kyron on both sides of the stage told us in advance: “Today’s programming has been designed to create a visceral user experience.” Be aware that there is a fine line between a visceral experience and a juvenile one. But no matter how you slice it, the show is most definitely unconventional and out of the ordinary. It’s fun when it’s not trying to be over-the-top.

Since the show is meant to be very loud, there are signs in the lobby that state that earplugs are available. So, dear reader, please ask for your shocking pink noise protection devices from the usher before you are seated. And save them as souvenirs of the performance, since no printed programs are being handed out. Most importantly, children especially need to wear earplugs or noise-cancelling headphones (which are also available); that said, the management stated that no child three or younger would be allowed into the show because of its noise level. I would add that those of all ages who have issues with pounding sounds, strobe lights, and rotating spotlights might be distressed too. But in general, I would recommend this production for those ages 12 and up. It’s too overwhelming for younger children, as evinced by watching first-hand the family seated in the row ahead of us. The seven-year-old boy was very upset despite wearing the headphones, and at times he was horrified by the action. The little boy spent most of the performance on his mother’s lap, and she was busy comforting him. The ten-year-old girl tolerated the show better, though her father occasionally had to pass along reassuring advice. Nonetheless, she did not look too happy, especially when the floor and seats vibrated from the sound. Of course, this was only one family’s experience that I observed.

However, what was most troubling was how lax everything was regarding COVID, with the exception of having the audience and staff being required to wear masks. Considering the alarming rise of the delta variant in Chicago, public health concerns should have been taken more seriously. More specifically, certain activities taking place on stage that might have been considered funky in previous years seemed a bit too creepy and pointless today. For example, it would have been nice (though not essential) to have had the blue men stand always at least six feet apart on stage. More to the point, several skits need to be grossly modified or deleted, such as those that involved spitting paint onto canvasses. The (unmasked) blue men should not be interacting so closely and freely with theatre-goers, as it is unnecessary to have them climb into the audience and bring volunteers onto the stage. I also did not appreciate the fact that one of the audience members brought to the stage was maskless; it set a bad example for everyone. Additionally, audience members are seated much too closely together—which is the fault of the venue—and there ought to be considerable separation of seats between unrelated parties. With the recent increase in virus cases, it’s all the more important that there be proper social distancing in security lines and ticket lines; this holds for when we leave the theatre too.

In short, while I enjoyed myself, I had expected a far less interactive and more widely distanced show where none of us would need to think about possible exposure to the virus. Since it’s doubtful that we’ll be returning to the “old normal” soon, my suggestion is for the producers to substantially modify the script and to immediately separate seats in the audience, among other things. This will make people like me feel more comfortable watching the show. Plus it may boost attendance among those who might otherwise be reluctant to take in an indoor performance at a fairly large theatre during a pandemic.

“Blue Man Group” is currently playing at the Briar Street Theatre, 3133 N. Halsted, in Chicago, through October 3, 2021.

Tickets range from $49 through $89. To purchase tickets, please go to: https://www.blueman.com/chicago/buy-tickets

Special rates are available for groups of 10 or more, from $57 to $70 per person. For more information about group rates, please email chicagogroups@blueman.com.

The performance schedule is as follows:

Tuesdays 8:00 p.m.
Wednesdays at 8:00 p.m.
Thursdays at 8:00 p.m.
Fridays at 8:00 p.m.
Saturdays at 5:00 and 8:00 p.m.
Sundays at 2:00 p.m.

Note: There is no 2:00 show on Sunday, September 5th.

Additional shows:

Sunday, August 22 at 5:00 p.m.
Sunday, August 29 at 5:00 p.m.
Friday, September 3 at 5:00 p.m.
Sunday, September 5 at 5:00 p.m. and 8:00 p.m.

To see the full schedule of performance dates and times listed in calendar view, please visit the Blue Man Group website: https://www.blueman.com/chicago/buy-tickets.

The producers recommend taking an Uber or Lyft to the performance, since parking is limited. Note that the venue is within walking distance from the Belmont brown/red/purple line “L” trains and lots of CTA buses.

Please note that masks are required for all guests upon entrance to the theatre and during the show.

Also note that on September 1, 2021, a new protocol of showing proof of vaccination status will go into effect at an ever-growing list of Chicago theatres. This policy is expected to continue throughout the calendar year. It is unclear at the time of this writing whether or not Briar Street Theatre will become a part of that growing list.