The Moraine Valley Orchestra will play Shakespearean-inspired music prior to the performance of the Bard鈥檚 play, 鈥淩ichard III,鈥� on Saturday, July 18, 6 p.m., outside at the Gateway between the FPAC and Building M.

The Jazz Ensemble will perform a collection of swinging tunes in 鈥淪ummer Sunsets and Sizzlin鈥� Swing!鈥� on Thursday, July 23, 7:30 p.m.

The Moraine Chorale and Chamber Singers will present 鈥淭he Best of Patriotic Music鈥� to celebrate 250 years of the United States on Saturday, July 25, 7:30 p.m. Tickets are $15 for adults, $12 for seniors and $10 for under 18/veterans.

For more information or to purchase tickets to the Chorale concert or other FPAC shows, visit or call (708) 974-5500.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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Before lifting her baton, director Maryann Flock explained the premise of the performance aligned with the college鈥檚 One Book, One College selection 鈥� 鈥淭he Dispossessed: An Ambiguous Utopia鈥� 鈥� embodying the theme of opposites such as isolation versus connection, freedom against constraint, and utopian ideals versus dystopian realities.

鈥淭he first two pieces are hard on the ears. They are sound pieces. If you stay through those two, it鈥檒l be light,鈥� she noted.

Flock activated the 34-member orchestra to a building brass hum combined with persistent strings. A black-and-white image of a wedded couple appeared on screen above the musicians just before they segued into a familiar tune that accompanies couples down the aisle, all part of Richard Wagner鈥檚 鈥淟ohengrin: Introduction to Act III and Bridal Chorus.鈥�

Per Flock鈥檚 warning, that piece proved kinder on the ears than the next, 鈥淎ll or Nothing鈥� by Molly Joyce, which truly lived up to its name. As soon as Flock waved her hand to begin, the orchestra invoked a guttural throb before the intermittent screech of the strings was punctuated by pockets of eerie silence. A wailing clarinet was met with dissonant reverberations from each corner of the stage as plucked stringed instruments, thumping French horns and clashing piano chords gave the sense that the notes were battling each other for attention. And just as quickly as the tune had started, it was finished.

鈥淚 know I鈥檒l go home and have people tell me that was their favorite piece,鈥� Flock joked. 鈥淓veryone can take a deep breath now; all bad things have been removed.鈥�

However, the next piece, 鈥淭rail of Tears: for flute and chamber orchestra鈥� was far from uplifting despite its melodic ambiance. Flock briefly shared the tragedy of the forced removal of Native Americans and the Indian Removal Act of 1830, which forced thousands of Cherokees to relocate during the winter. Although a sad premise, the ensuing songs provided a musical journey into how the human spirit handles adversity and upheaval, concluding with a reflective meditation on the loss of loved ones while inspiring hope for a better life in the world beyond.

Guest flutist and retiring Music professor, Tammi Carlson, was featured in 鈥淭rail of Tears,鈥� using various playing techniques, such as rolling out the mouthpiece, to simulate Native American flute sounds. At times, she forced air across the flute opening and trilled with the strings supporting her vibrations. Her sad melody along with the distant sound of jangling bells transported the imagination to Native Americans trapsing across a cold, desolate and undeveloped U.S. during the early 1800s. As the orchestra drove to the final chords, Carlson sustained a shrill note above the group to punctuate the finale.

Following the thunderous applause, Flock sat at the electronic keyboard to play chords on the far side of the stage while opening 鈥淩equiem鈥� with the wave of her hand. As she put it, 鈥淭his is a rhythmic piece. It is joy juxtaposed with sadness and death.鈥� The two bassists kept an under layer of beats, and after various violinists stood up for solos throughout the piece, the composition came to an abrupt end.

For an injection of the familiar and buoyant, the orchestra performed two sing-along鈥檚 that were not technically written as such, according to Flock. 鈥淜iss the Girl鈥� from the movie 鈥淭he Little Mermaid鈥� and 鈥淗ighlights from Wicked鈥� were accompanied by cues from Flock for the audience to sing, accentuated by a moment when only the drummer played as the musicians joined in to sing the 鈥渓a, la, la, la鈥� segment toward the end of the song 鈥淧opular.鈥�

The final piece was a tragedy by Guiseppe Verdi, 鈥淟a Forza del Destino: Sinfonia,鈥� that Flock explained, 鈥淚t鈥檚 not light, but it is captivating. I hope you can take a slice of it, any or all, with you.鈥�

The arrangement vacillated between a lush collective sound and lightly instrumented sections, culminating with a whip of Flock鈥檚 hand to end the final build and conclude the concert.

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Listen to Her Heart: The Tom Petty Experience is a tribute band dedicated to the legendary music of Tom Petty. This ensemble captures the essence and spirit of Petty鈥檚 sound with passionate performances that bring audiences on a nostalgic journey through the Rock & Roll Hall of Famer鈥檚 memorable, decades-long career.

Formed by a group of talented musicians from Atlanta who share an admiration for Petty鈥檚 music, the band has earned a reputation for its authentic sound, signature guitar riffs, soaring harmonies and high-energy live shows. From heartfelt ballads such as 鈥淔ree Fallin鈥欌�� and 鈥淲ildflowers鈥� to energetic anthems like 鈥淎merican Girl鈥� and 鈥淩efugee,鈥� The Tom Petty Experience delivers a familiar setlist that keeps Petty鈥檚 music alive while introducing it to new generations of fans.

Whether die-hard Tom Petty fans or rock music enthusiasts, 鈥淟isten to Her Heart: The Tom Petty Experience鈥� is sure to delight audience members, young and old.

Tickets are $37 for adults, $35 for seniors 55+, $32 for under 18 and veterans/active military. For tickets, visit , call the Box Office at (708) 974-5500 or visit the Box Office in Building F Tuesday through Friday from 10 a.m. to 5 p.m.

PHOTO CAPTION: 鈥淟isten to Her Heart: Tom Petty Experience鈥� is coming to 好色先生 on May 15.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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Shakespeare masterfully depicts the rise and fall of one of England鈥檚 most notorious kings in the dark world of 鈥淩ichard III.鈥� The story follows Richard, Duke of Gloucester, as he ruthlessly climbs the ladder of power, leaving a trail of manipulation and murder in his wake.

People of all backgrounds are encouraged to audition. Those auditioning should prepare a short, classical monologue. While not preferred, cold readings will be available, if needed. The show will run from July 16 to 19 with rehearsals adjusted based on cast schedules.

Interested actors can sign up in advance in Building F, Room F150, or by contacting Dr. Craig Rosen at rosen@morainevalley.edu.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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The latest Flute Choir concert, 鈥淔inal Farewell: Flute Choir Favorites鈥� on March 27, was the last hurrah for ensemble director, Tammi Carlson, as she sets her sights on retirement at the end of July after 27 years teaching at Moraine Valley.

For a more immersive experience, the audience sat atop risers arranged on the Dorothy Menker Theater stage facing the choir, as Carlson commented she thought no more than 10 people would attend her send-off. Little did she know that about 150 people were eager to see this concert comprising all her favorite tunes.

Carlson started the Flute Choir in 2008 and has grown it into a powerhouse group of high school, college and community members. To begin, Carlson explained the shimmery tone and watery theme of the first composition, 鈥淎 Short Nautical Journey,鈥� which the ensemble fluttered through along with delicate percussion elements added for effect. And so it went for each piece; Carlson told a story, asked the audience questions and expressed her love for the arrangement.

When the choir arrived at 鈥淩unning Away,鈥� Carlson addressed the audience, asking if, hypothetically, anyone ever thought about running away from home when they were young. She proceeded to dole out some humorous tips she found online for making an escape before a child in her line of sight agreed with her on some of the advice. The crowd erupted in laughter when he mentioned to Carlson how much money he saved if he decided to run away. Once the choir began to play, the repetitive musical pattern revealed itself 114 times within the piece, inspiring a sensation of rolling or moving forward.

When thinking of the flute, a standard-sized silver instrument or its pint-sized version 鈥� the piccolo 鈥� may come to mind. Carlson explained each type of flute as musicians rotated seats to play the different instruments. From the tiny piccolo to the oversized contrabass, which requires standing to play, each flautist performed a short, recognizable ditty to showcase the various profiles of each.

Throughout the concert, each piece was accompanied by a slideshow, curated according to stories shared from images of mountains to a boat journey down a European river. Before the final number, Nick Thomas, professor of Music, department chair and choral director, took the microphone to acknowledge all of Carlson鈥檚 work over the years, even acting as his left and right hands on many occasions. He also quoted lyrics from 鈥淔or Good,鈥� a song in the musical 鈥淲icked,鈥� noting, 鈥淚 know I鈥檓 who I am today because I knew you,鈥� stirring teary eyes in the crowd. 鈥淭hank you for being an important part of our lives,鈥� he added.

To close, members of the ensemble shared kind words about Carlson, gave her some sentimental gifts and embarked on one last musical endeavor alongside their fearless leader, playing, 鈥淪o Long, Farewell,鈥� from 鈥淭he Sound of Music.鈥� After the first chorus, Carlson exited the stage with a wave and a jaunty dance. Ensemble members, still playing their instruments, slowly filtered out after her according to each remaining chorus, finishing their goodbye behind a curtain to rousing applause.

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MacArthur Genius author Larissa FastHorse wrote this skewering and satirical comedy about four well-intentioned teachers and actors who walk into an elementary school to work on a Thanksgiving play that won鈥檛 ruffle any feathers. Just about everything goes wrong in the rambunctious, thorny and not altogether politically correct play about the hypocrisies of 鈥渨oke鈥� America served to audiences on a big, family-style platter.

The cast includes:

Logan 鈥� Veronica Knutsen, of Orland Park

Jaxton 鈥� Matthew Dever, of Evergreen Park

Caden 鈥� Michael Mills, of Oak Lawn

Alicia 鈥� Francesca Crosby, of Oak Lawn

Tickets are $15 for adults, $12 for seniors over 55, and $10 for Moraine Valley employees and students. For more information, or to purchase tickets to this or other FPAC shows, visit or call (708) 974-5500.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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The Moraine Valley Orchestra presents 鈥淥ne-Book One-Orchestra: Juxtapositions鈥� on Sunday, April 19, 3 p.m. Concert pieces include music by Beethoven, Shostakovich, Verdi and modern American composer Molly Joyce, composed for and against political and natural landscapes.

The Concert Band will perform 鈥淎ll Aboard! The Music of the 1920s New York Central Railroad Concert Band and More!鈥� on Sunday, April 26, 3 p.m.

The Percussion Ensemble will present 鈥淩hythmic Grooves and Re-Percussions鈥� on Thursday, April 30, 7:30 p.m. Guest artist Gregory Beyer will exhibit his skills on the marimba and berimbau and perform two of his compositions with the ensemble.

The Jazz Ensemble will perform 鈥淪pring Jazz Spectacular鈥� on Friday, May 1, 7:30 p.m., playing a range of big band styles from swing and soulful blues to gritty funk.

The Chorale and Chamber Singers will present their annual 鈥淏roadway, Pop, Motion Picture Spectacular鈥� on Saturday, May 2, 7:30 p.m. Tickets are $15 for adults, $12 for seniors 55+, $10 for Moraine Valley employees/veterans/under 18 and $5 for Moraine Valley students.

The Jazz Combo will present their annual Spring Concert on Tuesday, May 5, 7:30 p.m., in the John and Angeline Oremus Theater.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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鈥淭he Power of Pride鈥� is Frimpong鈥檚 exploration of assemblage, installation and a tribute to his Ghanaian heritage. Pieces rely on mixed media, including ceramics, found objects, wood, metal, textiles, resin and light, culminating in interactive, dynamic and multidimensional displays that bring the narrative of his culture to life. The exhibition shares the story of an African man鈥檚 intentional journey through an American landscape that challenges him to remember his people and power while devising ways to elevate himself and his community.

The title of each piece in the exhibition is embedded with meaning, simultaneously giving a point of reference and introspection as well as hinting at what it means to play, take risks and make a name for oneself in a new country while honoring a homeland.

Frimpong is a contemporary ceramic artist originally from Accra, Ghana. He received a Master of Fine Arts in ceramics art from the University of Arkansas and a Bachelor of Arts in industrial arts (ceramics option) from Swame Nkrumah University of Science and Technology in Ghana. His work has been exhibited in various group and solo exhibitions, including at the Poole Gallery at the University of Montevallo, the Shircliff Gallery of Art in Indiana and the Hall Gallery at Millsaps College. He also has earned several fellowships and awards, including the 2025 NCECA Emerging Artist Fellowship, Amaco Fellowship at Archie Bray Foundation and the 2025 Rudy Autio Endowed Fund for Creatives. Frimpong works as an assistant professor of art at Augustana College. For more information on Frimpong and his artwork, visit .

The gallery is free and open Monday through Friday, from 9 a.m. to 5 p.m. For more information or to purchase tickets to FPAC shows, visit or call (708) 974-5500.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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After the ensemble members sauntered onto stage, director Doug Bratt filed in, counted off and snapped his fingers, igniting high-octane music. The smooth saxophones, bellowing trombones, wailing trumpets, dynamic guitar, rhythmic string bass, versatile piano and seamless percussionists launched into the opening tunes of the night.

The first half of the program ran the gamut of what an audience would expect of a jazz concert 鈥� solos throughout each piece, including at least one groovy string bass cadenza, a big band sound and pieces that drew from popular music. One song was a leisurely, jazzy version of Radiohead鈥檚 鈥淓verything in Its Right Place.鈥� Bratt shared about early jazz influences and how today鈥檚 jazz draws from pop music.

For anyone who has never attended a jazz concert, pieces often include segments where the director moves aside to spotlight different musicians who stand in place and improvise an extended solo.

The second half of the concert showcased the steelpan stylings of guest artists Liam Teague and his 17-year-old son Jaden Teague-N煤帽ez, who already has been a guest soloist with the Civic Orchestra of Chicago, Fox Valley Orchestra and more while attending high school 鈥� impressive resume. Dancing along with the music practically was a requirement.

Teague-N煤帽ez opened with a piano solo before his father gave the audience its first taste of the national instrument of his home country of Trinidad and Tobago 鈥� the steelpan 鈥� a chromatically pitched instrument made from industrial drums. The solo preceded the piece 鈥淪ummer Song,鈥� which transported listeners to a beach chair by the ocean, palm trees swaying all around.

Several of the pieces were written by Teague, who interspersed explanations of the steelpan and, with the help of his son, displayed the inside of the inverted drum with its indentations around the cylinder that create varying pitches. He smiled while verifying that he actually was performing on the steelpan and not mimicking a recording playing simultaneously with the Jazz Ensemble.

Teague joked with the audience every time he took the microphone, claiming one piece was written by his mother鈥檚 favorite composer 鈥� him. Later, father and son bounced and swayed side-to-side in tandem for every piece while the percussionists smiled widely while providing background rhythms.

Amid the excitement, Teague encouraged the crowd to stand up, dance and clap. And in a rare concert-going moment, the audience grooved for an entire song. He even got the audience to follow his lead in a call-and-response, with people vocalizing his patterns.

For the closing number 鈥� 鈥淗ands Like Lightning鈥� written by Teague 鈥� he told the crowd it was illegal for anyone to sit while enjoying calypso music. So, we rose once again and for good reason. Who could stay seated while listening to pansticks whip around the drum in sync with the thumping ensemble?!

The next Moraine Valley Jazz Ensemble concert 鈥� 鈥淪pring Jazz Spectacular鈥� 鈥� is on Friday, May 1.

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Damn Tall Buildings is a Brooklyn, NY-based trio that weaves heartfelt lyrics into masterful and soulful fiddle, guitar and bass arrangements. The group spent over a decade honing their craft through touring and recording their unique sound, blending Americana roots with contemporary finesse while infusing elements of old-time, blues and jazz stylings into their songwriting.

Initially honing their skills through busking, i.e., performing in public spaces, Damn Tall Buildings refined their sound to harness an infectious energy. Their seamless vocal harmonies and instrumental solos create a cohesiveness that welcomes audiences into their musical journey, praised by critics as an aural blend that defies categorization. For more information on Damn Tall Buildings, visit .

Tickets are $20 for adults, $18 for seniors 55+, $15 for under 18 and veterans/active military. For tickets, visit , call the Box Office at (708) 974-5500 or visit the Box Office in Building F Tuesday through Friday from 10 a.m. to 5 p.m.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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With Michael Bridge on the digital accordion and Kornel Wolak on the clarinet and piano, this pair fuses classical, jazz and world music genres, exploring works from Bach to Benny Goodman. They have toured the world, performing concerts surveying musical hits spanning from the 17^th century to modern pop.

鈥淪candalous Romantics鈥� is a hilarious tabloid take on the stories of celebrated music stars across genres. Bridge & Wolak will 鈥渆xpose鈥� the lust, pride and envy that fueled some of the greatest scores from Mozart鈥檚 鈥淢arriage of Figaro鈥� and Dolly Parton鈥檚 鈥淚 Will Always Love You鈥� to Chopin鈥檚 鈥淣octurne No. 20鈥� and more.

Each performer grew up playing instruments and has a doctorate in music. Together, they developed an online music mentorship program for students considering a career in the arts. For more information on Bridge & Wolak, visit .

Tickets can be purchased for either table seating on the stage or traditional theater seating in the FPAC鈥檚 Dorothy Menker Theater. A table seat is $30 for adults, $28 for seniors 55+ and $25 for under 18 and veterans/active military. A theater seat is $25 for adults, $23 for seniors 55+ and $20 for under 18 and veterans/active military. For tickets to this or other FPAC shows, visit , call the Box Office at (708) 974-5500 or visit the Box Office in Building F Tuesday through Friday from 10 a.m. to 5 p.m.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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Founded in 1994 by C. Brian Williams, Step Afrika! is the first professional company dedicated to the tradition of stepping 鈥� a high-octane art form developed through song and dance rituals performed by African American fraternities and sororities. In stepping, the body becomes an instrument through footsteps, claps and spoken words to create complex polyrhythms and grooves that encourage audiences to dance.

Step Afrika! blends percussive dance styles, traditional West and southern African dances with contemporary dance and art forms to create an exciting artistic experience. This show combines traditional dance with captivating songs, storytelling and humor to connect with audiences and invite them to participate.

The group has toured more than 50 countries and is one of the top 10 African American dance companies in the U.S. Each year, the company conducts a 50-city tour of colleges and theaters and performs globally as Washington D.C.鈥檚 cultural ambassador. Step Afrika! has earned Mayor鈥檚 Arts awards for Outstanding Contribution to Arts Education, Innovation in the Arts and Excellence in an Artistic Discipline and performed at the White House for President Barack Obama and the first lady.

Step Afrika! is featured at the Smithsonian鈥檚 National Museum of African American History and Culture with an innovative and interactive stepping exhibit. The group also made its Off-Broadway debut in the critically acclaimed production of 鈥淭he Migration: Reflections on Jacob Lawrence.鈥� For more information on Step Afrika!, visit .

Tickets are $35 for adults, $33 for seniors 55+, $30 for under 18 and veterans/active military. For tickets, visit , call the Box Office at (708) 974-5500 or visit the Box Office in Building F Tuesday through Friday from 10 a.m. to 5 p.m.

For news media inquiries, contact Maura Vizza, Moraine Valley communications specialist and sports information coordinator, at (708) 974-5742 or Vizzam@morainevalley.edu.

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