On Stage: The Nutcracker ushers in holiday season

Also: Jethro Tull co-founder brings his band to area

By Denny Dyroff, Staff Writer, The Times

The Pennsylvania Ballet’s annual production of “George Balanchine’s The Nutcracker” is one of the most cherished—and longest running—family holiday traditions for families in the region. For many, a visit to Philadelphia to enjoy the lavish presentation by the world-famous Pennsylvania Ballet is a integral part of the holiday season.

This year’s production, which is running December 11-31 at the Academy of Music (Broad and Locust streets, Philadelphia, 215-893-1999, www.paballet.org), is the 47^th annual staging of the classic ballet. The ballet is based on E.T.A. Hoffman’s tale “The Nutcracker and The Mouse King” and set to a score by Peter Ilych Tchaikovsky.

Featuring lively dances, colorful costumes and elaborate sets, “The Nutcracker” is a production that appeals to audiences of all ages. The original version of the timeless classic was first presented in Saint Petersburg, Russia in 1892.

This season, there is a new man at the helm of the Pennsylvania Ballet—artistic director Angel Corella. Born in Madrid, Spain, Corella joined American Ballet Theatre in 1995 and was quickly promoted to principal dancer. In his 17-year career with ABT, he established himself as one of the greatest male dancers of his time.

Corella has also appeared as a guest artist with the Royal Ballet in London, the Kirov Ballet in Russia, and New York City Ballet. From 2008-2014, he served as director for his own company, the Barcelona Ballet.

“I was here last year during (Nutcracker) rehearsals but I had to go back to Spain to retire,” said Corella, during a recent phone interview. “I was already artistic director but I couldn’t be full-time until January 1.

“Ballet is full-time—for me and for the dancers. The challenge is to keep it fresh. The energy and dynamic of the company is changing. It’s very exciting now. With ‘The Nutcracker,’ it might be the first time for audience members so dancers have to go onstage like it’s the first time. It’s very important that the theatrical part of the show is there.”

Balanchine’s choreography plays a major role in the Pennsylvania Ballet’s annual production of “The Nutcracker.” The company has been doing both acts by Balanchine for the last 28 years.

George Balanchine, who was named Giorgi Balanchivadze when he was born in Russia in 1904, was one of the last century’s most celebrated choreographers. He was a primary developer of ballet in the United States in his position as co-founder and ballet master of New York City Ballet. Balanchine created his version of “The Nutcracker” for the New York City Ballet in 1955.

The Pennsylvania Ballet’s production of the ballet features over 100 performers and has an annual audience attendance of over 50,000. The company’s production is big, colorful and elaborate. And, it is staged in one of the most beautiful performance halls in the country.

The version of “The Nutcracker” performed by the Pennsylvania Ballet features everything audiences associate with the timeless ballet—a cast of 19^th-century families celebrating Christmas Eve, a little girl’s dream of her Nutcracker Prince, the Prince’s toy soldiers battling a fleet of mice led by the Mouse King and the crowd-pleasing second act of dances in the land of the Sugar Plum Fairy. 

“Right now, we’re still doing Balanchine’s ‘Nutcracker’ because it works,” said Corella. “It has nice choreography. A good way to change it is to have a different approach. When I danced, the approach would be different every night. I think every dancer can make it special and different every day.

“We have five principals doing ‘Sugar Plum’—same but different. How a dancer’s body reacts to the music—even a dancer’s height—can make a difference. We have some new dancers—especially three very talented apprentices. It should be very exciting.”

One thing that never changes is the audiences’ love for “The Nutcracker.” It is a spectacular production that turns everyone—adults, children and seniors—into wide-eyed kids.

“The whole process makes it feel like it’s Christmas,” said Corella. “There is hot chocolate. It’s snowing outside. The whole family is there and time seems to stop. It goes back to a certain place and time that everyone seems to recognize—being able to re-connect and share.”

Video link for Pennsylvania Ballet’s “George Balanchine’s The Nutcracker”—https://www.youtube.com/watch?feature=player_embedded&v=6j4HATkhrSY.

Performances are scheduled for December 11 at 7 p.m., December 12 at 2 and 7 p.m., December 13 at noon and 5 p.m., December 17 at 11 a.m. and 7 p.m., December 18 at 11 a.m. and 7 p.m., December 19 at 2 and 7 p.m., December 20 at noon and 5 p.m., December 22 at 2 and 7 p.m., December 23 at 2 and 7 p.m., December 24 at noon, December 26 at 2 and 7 p.m., December 27 at noon and 5 p.m., December 29 at 2 and 7 p.m., December 30 at 2 and 7 p.m. and  December 31 at noon. Ticket prices range from $35 -$150. 

If you’re a fan of classic rock, you’re most likely a fan of Jethro Tull. And, if you’re a fan of  Jethro Tull, you most likely have spent many hours listening to the guitar work of Martin Barre.

From 1968 until 2014, Barre and Jethro Tull vocalist/flautist Ian Anderson formed the core of Jethro Tull. Then, Anderson pulled the plug on Jethro Tull. Now, there are two bands playing Tull music and their own music—the Martin Barre Band and the Ian Anderson Band.

Barre has had his band together for a few years and has recorded several albums. Finally, Barre and his crew have crossed the Atlantic for a North American tour—a tour that will bring them to the Sellersville Theater (24 West Temple Avenue, Sellersville, 215-257-5808, www.st94.com) on December 10.

The tour is billed as “Jethro Tull’s Martin Barre Band—An Evening of Blues-Rock-Tull.” The band includes Dan Crisp (vocals/acoustic/bouzouki), George Lindsay (drums), Richard Beesley (horns), Alan Thomson (bass) and Barre (guitar).

Barre has released three albums in the past few years—“Martin Barre” (2012), “Away With Words” (2013) and “Back to Steel” (2015).

“We finished making ‘Back to Steel’ in November,” said Barre, during a phone interview Tuesday morning. “The longest session for me was doing the lyrics. I spent well over a month working on the lyrics.  I actually spent a lot of time on every aspect of the album – even on the art.

“Traditionally, I’ve written instrumentals—four-piece band originals. I wanted songs that were direct so there were very little lyrics. In the eight previous solo albums I’ve done, there were only a few songs with lyrics.

“First of all, the music has to be there. That’s the most important thing. Because I’m not a singer, it’s a challenge to write lyrics. I wrote many, many versions of songs with lyrics until I got them right.

“I’ve had my live band on the road for four years but this is our first time to tour America. I still do a lot of old Tull songs but in a way that’s more bluesy and rock. I love music to be very broad in scope. Blues is the backbone of rock.”

But, there is more to Barre’s music than just blues-rock tunes and different renditions of Jethro Tull classics. He is a world-class guitarist who knows how to explore the instrument’s wide range.

“I like melody,” said Barre. “I like dynamics. I like space. Blues is open to that. Space is important. I don’t want there to always be an onslaught of notes. Dynamics make everything work.

“Songwriting is a pleasure for me. It’s never a chore. I love arranging. I play guitar every day and come up with things that might develop into a song. Because I’m a late starter with solo work, I’m like a youngster in songwriting terms.”

In addition to numerous Jethro Tull albums, has performed or recorded with many other distinguished artists, including Paul McCartney, Phil Collins, Gary Moore, Joe Bonamassa and Chris Thompson. He has shared a stage with such legends as Jimi Hendrix, Fleetwood Mac, Pink Floyd and Led Zeppelin.

Even though Barre had worked on a few solo projects over the last 40 years, most of the time was devoted to being one of the musical mainstays of Jethro Tull. But, that ended suddenly when Anderson opted to follow a different road.

“The end of Jethro Tull—I didn’t see it coming,” said Barre. “It was a difficult time for me. It took me about six months to sort out what I need to be doing. Now, I’m so happy. I have a great band and it’s going great. I’m very happy now.

“People who see our band play get a great Tull experience. I feel like I’m carrying the tradition.”

Video link for Martin Barre—https://www.youtube.com/watch?feature=player_embedded&v=CBWWkqxGMEQ.

The show at Sellersville will start at 8 p.m. with Joe Deninzon & Randy McStine as the opening act. Tickets are $29 and $39.50.

Other upcoming acts at the Sellersville Theatre are Depue Brothers Band on December 11, Phil Keaggy with Trevor Gordon Hall on December 12, Claire Lynch Band on December 13 and Whiskeyhickon Boys with Chestnut Grove on December 16.

One very popular rock music genre is metal—often referred to as heavy metal. But, “metal” hardly describes the vastness of the genre as evidenced by the outrageous number of sub-genres.

The lengthy list includes Black Metal, Death Metal, Speed Metal, Progressive Metal, Doom Metal, Thrash Metal, Metalcore, Industrial Metal, Stoner Metal, Grindcore, Celtic Metal, Avante Metal, Punk Metal, Christian Metal, Goth Metal, Symphonic Metal, Power Metal and Glam Metal. There is even Christian Metal—and Post-Metal.

The “Coma Ecliptic Tour III,” a metal tour that touches down at the Theatre of the Living Arts (334 South Street, Philadelphia, 215-222-1011, http://www.lnphilly.com) on December 13, features a variety of metal acts including Between The Buried And Me, Intronaut, Enslaved and Native Construct.

Between the Buried and Me is billed as an American progressive metal band. On its Facebook page, Intronaut refers to itself as a post-prog metal band. Native Construct is described by its record label—Metal Blade Records—as a progressive metal band. On its Facebook page, Enslaved identifies itself as a Norwegian extreme metal band.

Taken altogether, it means that this four-act bill will feature plenty of loud, intense metal music that is far from being run-of-the-mill metal with speed guitar, aggressive drumming and screamed vocals.

Intronaut was formed in Los Angeles in 2004 as a prog-metal quartet. Only one line-up change has happened since then and the foursome of Sacha Dunable (guitar, vocals), Dave Timnick (guitar, vocals, tabla, percussion), Danny Walker (drums, samples) and Joe Lester (bass) has been together for almost a decade already.

“I came into the band in early 2007,” said Timnick, during a phone interview Wednesday en route from Atlanta to Toronto. ‘I’ve been with the band for four albums. I’ve know Joe since we were in grade school when we were growing up in L.A.

“We became friends in sixth grade and started playing music together. After high school, we went our separate ways. He went to college in Santa Cruz to study jazz and I stayed in L.A. I was playing drums back then.

“After college, Joe came back to L.A. and hooked up with Sacha to form Intronaut. When their guitar player left, they called me. Joe said that it would be great for me because they weren’t looking for a shredder and being a shredder wasn’t what I was all about.”

Timnick switched back to guitar—but didn’t completely abandon his drum set.

“I had to learn to focus on guitar playing—along with singing and writing,” said Timnick. “But, on the song ‘Valley of Smoke,’ me and Danny played full drum sets and we had two bass players.”

“Valley of Smoke” is the title track of the band’s third album which came out in 2010. Intronaut has released five albums, four of which are on Century Media—“Prehistoricisms” (2008), “Valley of Smoke,” “Habitual Levitations (Instilling Words with Tones)” (2013)  and  “The Direction of Last Things” (2015).

“We recorded ‘The Direction of Last Things’ in April,” said Timnick. “We tracked the whole record in four days.”

Timnick also talked about genres and labels.

“For all intents and purposes, we are a metal band. But, they way we think about music is definitely not metal. It has heavy riffs and screams but we’re not concerned with keeping it contained to just metal. For us, we don’t think about genres.

“We’re more melodic than most metal bands because we’re influenced by music that is not metal in any way. We’re more concerned about crafting songs—more melodic and more song-oriented.

“On this tour, we only have a 30-minute so we’re just playing four songs from the new album. It definitely presents a different kind of challenge—but we’re no strangers to 30-minute sets with all the tours we’ve done as an opening act.”

Video link for Intronaut—https://www.youtube.com/watch?feature=player_embedded&v=Ujb4E7oEZq0.

As one of the tour’s other opening acts, Native Construct—Myles Yang, Robert Edens, Max Harchik, Kee Poh Hock—also has to be satisfied with a short set this time around.

“We have a 25-minute set on this tour,” said Yang, during a phone interview Wednesday afternoon. “It’s a little hard. We’re only doing four songs with no space in between. It’s a very dense set.

“We’ve been together since 2011 but we didn’t start doing live gigs until earlier this year. Our first two was in August—a headlining tour of clubs on the East Coast. This is just our second tour and it’s a much bigger tour because we‘re just an opening act.

“It’s a great introduction to a whole new group of people who had never heard of us. We’ve been getting a lot of positive feedback from new listeners. But, I’m sure some of the real hardcore metal fans don’t appreciate our eclecticism.”

Native Construct started as a collaboration between several students at Berklee College of Music in Boston. The band has a wide array of influences ranging from classical to musical theatre—with a lot of prog-metal stops along the way. The music features extended-range guitars, theatrical vocals and a variety of symphonic instrumentation.

“I usually describe our music as prog-metal or prog-rock,” said Yang. “Early on, my influences were mostly metal and prog-rock. Later on, I started getting into classical music—and also musical theater. I see them now as core components of our music.”

Native Construct’s just recently released its debut album “Quiet World” on Metal Blade Records.

“We started record ‘Quiet World’ in late 2011 and finished it earlier this year,” said Yang. “It was a pretty lengthy process because we were still in school and we just worked on it when we had time between our studies. It took a long time but that’s all right because we wanted to make sure we did it right. We did some of it at the recording studios at Berklee but mostly it was done in our apartments. Even though it took a long time, it wasn’t hard to keep consistency between the songs because of the way we structured the compositions. It was very thematic. We always came back to unifying elements.”

Video link for Native Construct—https://www.youtube.com/watch?v=v99dHD9oWfU&feature=player_detailpage.

The show at the Theatre of the Living Arts will start at 7 p.m. Tickets are $25.

Other shows at the TLA over the next week will be The Acacia Strain, Counterparts, Fit for an Autopsy, Kublai Khan, Proletariat, Left To Vanish on December 11 and Kevin Devine, Brianna Collins & Ben Walsh, Jesse Lacey, Matthew Caws, Meredith Graves, Mike Kinsella, Cymbals Eat Guitars on December 12.

Band names and their origins can be interesting stories. Three young rock bands that are heading to town this weekend all chose their names in widely different ways—a literary reference, a recipe for an improvised alcoholic drink and a random finger pointing on the page of an atlas.

Chamomile and Whiskey, which is performing on December 10 at the Fire (412 West Girard Avenue, Philadelphia, 267-671-9298, thefirephilly.com), took its name from the combination of two popular beverages.

The band, which lists its genre as “Rock, Folk, Americana, Gypsy, Celtic, Roots” features Marie Borman (Fiddle/Vocals), Koda Kerl (Guitar/Vocals), Lavin (Banjo/Vocals), Brenning Greenfield ( Drums/Washboard) and Tim Deibler (Upright Bass).

“We’ve been together about five years now,” said Kerl, during a phone interview Tuesday as the band travelled north to a show in Washington, D.C. “Marie and I had been touring as a duo and as part f other projects. We had toured all over the state playing small clubs and coffee houses. We got back to Charlottesville (VA) and decided to put a band together.

“Right away, we got Lavin and Brenning and they’re still with the band. We’ve gone through a number of bass players. But, everyone who has played with us is still a part of the family. We’ll bring everyone in to record or for a special show.”

In the band’s embryonic stage, Kerl and Borman were contemplating how to proceed—and the name came to them.

“When Marie and I decided to start the band, we were sitting around at her place talking about it,” said Kerl. “She had made chamomile tea with lemon and honey and I had a bottle of Evan Williams (Kentucky straight bourbon whiskey).

“So, we put the two together. It made a nice drink—and it gave us our name. If you’re going to make the drink, you need the lemon and the honey. Whiskey and chamomile tea without lemon and honey is a bit too much.”

Chamomile and Whiskey has released two albums on County Wide Records and has toured extensively up and down the east coast.

“The last record we made—every song we had played live for at least a year,” said Kern. “We road-tested all the songs. For our next one, about half the songs will be road-tested and the other half not. We started working on our next record last night and we’re hoping to have it out in late spring. The songs are all awritten but maybe we’ll still get a few more.

“Our last album—‘Wandering Boots’—came out in the middle of 2013 so we’re anxious to get new material out. We like all the songs we’ve been playing for a long time but they don’t have the extra excitement of a new song. The new record will be more rock-based—more written in a rock format.”

Over the years, Chamomile and Whiskey developed into a fan favorite because of its intense and highly energetic live shows—sort of like Americana on steroids.

“A lot of time, we have people who have never heard us play live and, when they come to our show, they are surprised at how rock it is,” said Kern, whose band has just acoustic instruments such as fiddle, banjo, guitar and string bass. “It’s more whiskey than chamomile.”

Video link for Chamomile and Whiskey—https://www.youtube.com/watch?feature=player_embedded&v=XmzuLWfECIY.

The show at The Fire is scheduled to get underway at 8 p.m. with opening acts Old Arrows and Hunter’s Cannon. Tickets are $8.

Other upcoming acts at The Fire are Dares, Northern Liberties and Pig Pen (December 11), Bridge Underwater, Mamma Hankton, Assemble and Socko (December 12),

Geena and Joyel Crawford (December 15) and A Major Triad, L.A.W., Seagrave and Landstryder (December 16).

The Yawpers, who will perform on December 10 at MilkBoy Philly (1100 Chestnut Street, Philadelphia, 215- 925-6455, www.milkboyphilly.com), are a three-piece band from Denver. They also rock hard while playing acoustic instruments.

The band features Nate Cook on lead vocals and guitar, Jesse Parmet on slide guitar and harmonies, and Noah Shomberg on drums. The Yawpers had a self-released album called “Capon Crusade” in 2012 and then  released its major label debut “American Man” earlier this year on Bloodshot Records.

“I had a residency as a solo artist in Boulder,” said Cook, during a phone interview Tuesday from a tour stop in Long Island. “Jesse and I had been in bands together prior to that. So, we started playing together again.

The Yawpers came into existence at the end of 2011. Since then, we’ve had four members who are no longer in the band. This incarnation has been together for two years. The music has progressed from a folk sound to a more progressive punk-influenced sound. But, we’re still all acoustic.”

At the SXSW Festival in Austin, Bloodshot Records heard a set by the Yawpers and was so impressed that it immediately offered the band a recording contract.

“Most of the songs on ‘American Man’ had been around for quite awhile,” said Cook. “That allowed us to record live in the studio. We knew it would be our first real foray into the national consciousness. So, it was important to be honest. We record the whole album analog and almost everything on the record was the second or third take.

“In our live show, we’re doing mostly songs from ‘American Man’—probably 80 per cent. But, we still do an occasional old song or a cover. The songs are always in flux. I do all the songwriting. And, I came up with the name for the band.”

The band got its name from Verse 52 of a poem by Walt Whitman called “Song of Myself”—“I too am not a bit tamed—I too am untranslatable; I sound my barbaric yawp over the roofs of the world.”

“ I’m a huge Walt Whitman fan,” said Cook, who was delighted to learn that Philadelphia had a bridge named the “Walt Whitman Bridge” and that there was a Walt Whitman House Museum in nearby Camden, New Jersey.

Video link for the Yawpers—https://www.youtube.com/watch?feature=player_embedded&v=ReIZ7tS8PXM.

The show at Milkboy Philly will start at 8 p.m. with opening act Morning River Band. Tickets are $12 at the door.

Other upcoming shows at Milkboy are Mount Holly and Darby (December 11),  Sounds To Visions (Art & Music) with Schooly D featuring  Sarah Kane, Eric Horwitz, and Cookie Rabinowitz  (December 12) and Darlingside along with Reed Kendall (December 16).

Des Ark, which plays at Everybody Hits Philadelphia (529 West Girard Avenue, Philadelphia, 215-769-7500 http://everybodyhitsphila.com) on December 11, is basically the musical vehicle for singer-songwriter-guitarist Aimée Argote.

On the band’s Facebook page, she offers this explanation—this band is: always aimée argote, mostly taylor holenbeck, often catherine edgerton, sometimes jesse kees, nathan wilder, occasionally sean mcguinness, for one great tour johnny ward, was noah howard, ashley arnwine, pygmy lush. 1,000,000 drummers & counting.

“I’m the only original member,” said Argote, durimg a phone interview Tuesday afternoon. “It was sort of that way by design. I really felt I needed an outlet for my songs and to have the creative freedom to go wherever I wanted to go—lyrically and musically. Some people have been around for one show and some for years.

“With this band, it’s hard because audiences might never get what they expect. Ultimately, what I would like to give to people that something that is dynamic—very live and in-the-moment. That keeps me engaged.

“This band has always been messy live—and that’s by design. Right now, it’s a four-piece—not as loud as we have been and not as quiet as we have been. Our latest record exists in the middle.”

That record is “Everything Dies,” which is out on LP, CD and digitally via Graveface Records. 

“The recording process started in 2013,” said Argote, an Arkansas native who lived in Philadelphia from 2010-2012. “Songwriting is a different process for me. The songs get delivered to me. It’s like when you’re getting a cold. The first symptoms arrive and then the cold hits you full. That’s how songs come to me.

“It took me two years to finish making the new album. I recorded in seven different studios with a lot of different musicians — whoever was around.

“Some of the quieter songs I’d build piece-by-piece starting with a guitar line. But, doing the whole album that way would have taken a really long time — too long. So, I went to where the musicians were — mainly Austin, Texas and Richmond, Virginia. Then, I remixed it in Atlanta with Andy LeMaster,”

Argote explained the origin of the band’s name.

“I didn’t have a band name,” said Argote. “So, stuck my finger on a map in an atlas and came up with Des Ark. It’s a town in Arkansas — but I misspelled it. It actually is Des Arc, Arkansas. But, it’s good because this way there won’t be confusion if you Google the name.”

Video link for Des Ark — https://www.youtube.com/watch?feature=player_detailpage&v=gAfb-62fDeU.

The Des Ark show at Everybody Hits Philadelphia has a starting time of 8:30 p.m. with Thin Lips and Shannen Moser as the openers. Tickets are $10.

A healthy serving of fresh New York punk music will be the featured item on the musical menu when Everything Ever plays a show on December 13 at the Milhouse (15^th and Ellsworth streets, Philadelphia, https://www.facebook.com/events/548899201929239/).

“The band has two official members — myself and guitarist Andrew Paladino,” said bassist/vocalist John Trotta, during a phone interview Wednesday afternoon. “He and I have been best friends since we were in third grade together at St, Claire’s elementary school in Staten Island.

“We started making music together when we were in seventh grade and then went to high school together in Staten Island. Now, I still live in Staten Island and Dino lives in Manhattan. I like Staten Island a lot. It’s still a place where real New Yorkers live.”

Trotta acknowledges that the band has had a lot of influences but none as big as the first one.

“Our biggest influence was Blink 182,” said Trotta. “We grew up listening to them. The first songs we learned to play were blink 182 songs. Actually, Dino was first inspired to play guitar after we went to our first Blink 182 concert.

“We’ve also been influenced by ands like Green Day and My Chemical Romance. But, we listen to a lot of different music. When we were younger, we were pretty much limited to what we were exposed to on TV.

“Then, my uncle got me into Black Sabbath and Led Zeppelin. Dino’s dad is a jazz musician so Dino is pretty familiar with jazz. As we both got older, we got into punk — punk and New Wave. Now, I listen to a lot more punk.”

The guitarist and bassist make a big sound for just two musicians.

“We were a three-piece for a long time,” said Trotta. “Then, we had to part ways with our drummer. Now, Dino and I are the only full-time members. We have touring members who play drums and we even have a studio drummer.

“The writing is mostly done by Dino. He comes up with the song skeletons and structures — and the lyrics. Then, he brings it to me and I help work out the music.”

In 2014, the band signed with Brooklyn/Rochester, NY-based label Secret Audio Club. The duo released its debut album “Solid Ground” earlier this year.

“We recorded the album in Weehawkin, New Jersey,” said Trotta.  “It’s pretty long for a punk — 12 songs and 40 minutes. ‘We’re going to start working on a new EP son. We’ll do it live in the studio.”

Video link for Everything Ever — https://www.youtube.com/watch?feature=player_detailpage&v=xv4Sa_2eGco

The Everything Ever show at the Milhouse, which starts at 8 p.m., has four opening acts — The Blithedale Romance, Uncle/Father Oscar, Weird and Wonderful Words and Sister City. Tickets are a $5 donation.

Nalani & Sarina, one of the best acts to hit the East Coast circuit this year, will close out their 2015 schedule with two performances — the last of which will be singing the National Anthem at the New Jersey Devils’ NHL game against the Anaheim Ducks on December 19 at the Prudential Center in Newark.

Prior to that, the talented twin sisters will perform at show with a focus on their latest EP “Scattered World” at the Triumph Brewing (400 Union Square Drive, New Hope, 215-862-8300, www.triumphbrewing.com/new-hope) on December 12. Show time is 10 p.m. and tickets are $5.

The Kennett Flash (102 Sycamore Alley, Kennett Square, 484-732-8295, http://www.kennettflash.org) will have its Third Annual Hometown Holiday Show on December 11 with Billy Penn Burger, Todd Chappelle, Lori Citro and Jessica Graae. On December 12, the venue will host “Mojo Stu Blue Christmas — A Benefit for KidPHIT” and then close out the weekend on December 13 with a concert featuring Johnny Neel and Melissa Alesi.

The Steel City Coffee House (203 Bridge Street, Phoenixville, 610-933-4043, www.steelcitycoffeehouse.com) will host Joe Kenney and Elle Gyandoh on December 10 and Joe Crookston & The Bluebird Jubille on December 11.

Chaplin’s (66 North Main Street, Spring City, 610-792-4110, http://chaplinslive.com) will have Peter Evans and Drew Nugent on December 11 and “Trespass – The Music of Genesis” on December 12.

The Ardmore Music Hall (23 East Lancaster Avenue, Ardmore, 610-649-8389, www.ardmoremusic.com) will host a “Superjam” on December 12 presented by Tone Wheel Music Group. The band will feature Natalie Cressman and Jennifer Hartswick (Trey Anastasio Band), Michelangelo Carubba ­ and Craig Brodhead (Turkuaz), Steveland Swatkins (Allen Stone/Juno What?!), Dave Livolsi (Jazz is Dead), Danny Mayer (Alan Evans Trio/On The Spot Trio) and Justin Henricks ­( Beau Sasser’s Escape Plan).

The venue will also host Delta Rae with Penny and Sparrow on December 10, and

Box of Rain (’68-’74 Dead tribute) and The Wallace Brothers Band on December 11.

Burlap & Bean Coffeehouse (204 South Newtown Street Road, Newtown Square, 484-427-4547, www.burlapandbean.com) will present Ethan Pierce and Chelsea Allen on December 12.

Melodies Café (2 East Ardmore Avenue, Ardmore, 610-645-5269, www.melodiescafe.com) will host “Cardinal Arms presents: The  “Songs for Filip” Benefit Show” on December  11 and Mind’s Eye Society, Tim Madden and Evan Scheerer on December 12.

The Keswick Theater (291 N. Keswick Avenue, Glenside, 215-572-7650, www.keswicktheatre.com) presents Kenny G on December 10, Matisyahu on December 11, and Todd Rudgren on December 13.

The Upstairs Stage at World Café Live (3025 Walnut Street, Philadelphia, 215-222-1400, philly.worldcafelive.com) will feature Cas Haley and Collin Hauser (December 10), Bird’s Eye Trio: Jen Curtis, Ayane Kozasa & Paul Wiancko (December 11), Evan Dando  (of The Lemonheads) (December 11), Martha Davis And The Motels and Eddie Japan (December 12), You Do You, The Rooks and Justin Graham (December 13) and  Miss Tess & the Talkbacks and Jacob Snider (December 15).

The Downstairs Stage will have Bronze Radio Return and  Brothers McCann (December 11) and  Cartoon Christmas Trio (December 13) and The Applejacks (December 14).

World Café Live at the Queen (500 North Market Street, Wilmington, 302- 994-1400, www.queen.worldcafelive.com) will present Peace, Love and Poetry (December

(December 10) and Peek-a-Boo Review (December 11) on its Downstairs Stage. The Upstairs Stage will feature Girls, Guns and Glory (December 10) and Marcus Goldhaber (December 11).

The Grand Opera House (818 North Market Street, Wilmington, Delaware, 302-652-5577, www.thegrandwilmington.org) will host the Punch Brothers on December 11 and Wilmington Ballet’s production of “The Nutcracker” on December 12.

“The Book of Mormon” is running now through December 27 at the Forrest Theatre (1114 Walnut Street, Philadelphia 866-276-2947, www.kimmelcenter.org/broadway) as part of the Kimmel Center’s “Broadway Philadelphia” series.

Video link for “The Book of Mormon” — https://www.youtube.com/watch?feature=player_detailpage&v=OKkLV1zE8M0.

Ticket prices ranges from $67-$177.

The Candlelight Theater (2208 Millers Road, Arden, Delaware, 302- 475-2313, www.candlelighttheatredelaware.org) will present the classic hit musical “Mame” now through December 20.

Performances are December 10, 11, 12, 18 and 19 (doors 6 p.m./show, 8 p.m.), December 13 and 20 (doors, 1 p.m./show, 3 p.m.) and December 16 (doors, 11 a.m./show, 1 p.m.) Tickets, which include dinner and show, are $59 for adults and $33 for children (ages 4-12).

The Rainbow Comedy Theatre (3065 Lincoln Highway East, Paradise, 800-292-4301, www.RainbowDinnerTheatre.com) is presenting “Good Night, Mrs. Puffin” now through December 27

Matinee performances are every Tuesday, Wednesday, Thursday and selected Saturdays with an 11:30 a.m. lunch and a 1 p.m. curtain. Evening performances are every Friday, Saturday and selected Thursdays with dinner at 6:30 p.m. and the show following at 8 p.m. Ticket prices range from $49-$55.