GO Weekend Newsletter
July 25, 2014

“Catch Me” charming, mad-dashing fun

The real surprise about the breezy caper musical, “Catch Me If You Can,” is that underneath all the giddy, gaudy, mad-dashing fun, there’s a charming and touching love story between a brash young conman and a grizzled FBI agent obsessed with bringing him to justice.

It evolves from a cop/crook thing into a relationship that’s more of a world-weary teacher trying to keep a reckless kid from messing up all hope of a happy future. It’s a slick, clever cat-and-mouse game with old-fashioned heart.

This regional premiere for Music Theatre Wichita, crisply directed by Wayne Bryan with jazzy, sophisticated choreography by Linda Goodrich, is also a sleek, atmospheric, period-piece valentine to the 1960s.

It was the heyday of TV variety shows, and choreographer Goodrich pays homage to the ubiquitous dancers who appeared behind every singer like Perry Como or Dinah Shore, but goes bigger to fill a stage that accommodates more than a 13-inch living room screen.

For his part, set designer Robert Andrew Kovach uses a giant TV screen as a centerpiece with occasional live TV projections of action on the stage behind the players for some remarkable solo close-ups. He also uses versatile backlit, neon-like sliding panels in red, green, blue and white to create everything from an airport lobby to a nightclub to a hospital, motel room and FBI office.

And costume designer Dixon Reynolds presents an idealized view of the period through eye-popping, candy-color shades like tangerine, lime, turquoise and hot pink.

The musical moments by composer Marc Shaiman and lyricist Scott Wittman – the guys who did “Hairspray” – have a loose, jazzy, swingy sound that whips up images of TV detectives. It’s mostly breezy rather than epic, but it’s highly listenable and spot-on entertaining.

The romp is based on the true story of Frank Abagnale Jr., who passed himself off as an airline pilot, a doctor and a lawyer and lived high on the hog thanks to $2 million in hot checks – all before age 21. Skyler Adams, an MTWichita alum who has gone on to a professional career, is back to play Frank Jr.

There’s a bit of the sly, grinning, serendipitous attitude in Frank Jr. that reminds you of the kid in “How to Succeed in Business Without Really Trying,” but from a criminal perspective. Adams walks that fine line that keeps Frank Jr. delightfully roguish rather than menacing.

Adams also has a powerful, approachable voice that buoys us through his “Live in Living Color” recurring anthem, charms us with his “Seven Wonders” love song to his girlfriend and touches us with his despairing “Goodbye” as he realizes his future is slipping away.

Thom Sesma is grouchy, by-the-book FBI man Carl Hanratty, and he proves to be a terrific showstopper when he and his black-suited, fedoraed G-men (like a line of dancing Don Drapers) strut, swagger and pony their way through “Don’t Break the Rules.”

Sesma, a Broadway veteran best remembered here as the king in last summer’s “The King and I,” plays Hanratty as an impatient, exasperated but lovable grouch. It’s a layered role of a man fighting his own demons while trying to save the world.

Broadway veteran David Hess has a rich, resonant baritone as Frank Sr., a not-so-successful conman who advises his impressionable son that appearance is everything in their game (“The Pinstripes Are All That They See”). Paula Leggett Chase, also a Broadway veteran, is surprisingly glamorous as Frank Jr.’s French-born mom, who married an American soldier to escape war-torn Europe, but then tries to make the most of a ho-hum marriage. Her strong soprano gives substance to “Don’t Be a Stranger.”

Carolyn Anne Miller, a second-year member of the MTWichita company, plays Frank Jr.’s girlfriend, Brenda, and gives a beautiful, haunting rendition of “Fly, Fly Away” as the law closes in. Tim and Karen Robu, longtime local favorites, are hilarious if a bit over the top as Brenda’s snooty, somewhat bigoted Southern parents. Their “Our Family Tree” with their own impromptu backup family singers is a highlight.

This weekend, sneaker fans have a Sole Purpose

When foamposite sneakers first came out in 1997, Chris Barnett wanted a pair badly. The molded design was considered an innovation and the latest in street fashion. Unfortunately, the shoes sold for about $180 a pair.

“My grandpa and my mom were like there’s no way I’m spending that much money on a sneaker,” he recalls.

These days, Barnett, 30, spends as much of his own money as he wants on sneakers, and he’s not alone in his fondness for upper-end athletic footwear. Barnett expects hundreds of “sneaker heads” to show up for Sole Purpose, a sneaker convention he’s organized Saturday at Abode Venue.

“I have attended one (sneaker convention) before, a couple years ago,” he said. “It wasn’t to this magnitude.”

Sixteen vendor tables have been rented for the event. Some people will be selling shoes, some will be trading them, and some will just be showing off their personal collections.

“I’m going to display, but if the price is right, I’ll sell or trade,” said Alajae Allen, a Wichita resident who says he’s been into sneakers about five years and now owns about 50 pairs. “It doesn’t really matter. It’s something to do.”

Like many collectors, Allen wears some of his sneakers and keeps others in mint condition. Even used sneakers can be traded if they’re not too worn. “I wear them, but not too often,” Allen said.

His personal favorites: a pair of Black Cement Nike Air Jordan 3’s.

Another participant is Andy Kim, who owns Mathematics, a men’s clothing store, along with his bother, Minh Ho. Although Mathematics doesn’t currently sell sneakers, “they kind of go hand-in-hand with” with the street fashions the store carries, Kim said. “We’ve always been about shoes.”

Kim said he owns about 45 pairs of shoes; his brother “probably has like 150.”

“I think what it really is, you get so attached to a pair of shoes. Sometimes it’s quality. Sometimes it’s rarity. It’s like an action figure.”

Kim plans to display his boutique’s clothes alongside the family’s personal collection of shoes. In his opinion, the hottest sneakers right now are “any (Nike Air) Jordan 11’s.”

As a retailer, Kim is interested in how the shoe resale market operates. As he describes it, Nike sells its shoes in limited quantities, knowing they are going to rise in value – perhaps as a way of keeping the brand hot years after its most famous endorser, Michael Jordan, last scored a basket.

“It’s a really underground market that Nike is well aware of,” he said.

He predicts Sole Purpose will catch on.

“Other cities, like Oklahoma City, have these annually, and they’re real popular. I know people from Wichita who go to Kansas City for things like this, people that don’t even wear them.”

Barnett got his first pair of nice sneakers, a pair of Air Jordans, in 1990. “I have a picture somewhere of me in those sneakers,” he said. “When I was deep into my Jordan phase, I had like 63 pairs of them.”

He “fell out of love” with the Jordan line a couple years ago, though as a sneaker connoisseur he still keeps up with it. Today, he’s more into shoes endorsed by LeBron James and Penny Hardaway.

The most expensive of all may be a pair endorsed by entertainer Kanye West, which retailed for about $250. “Now, to resell that shoe, is like $5,000,” Barnett said.

Barnett expects at least one pair of Wests at the show. Another highlight, he said, should be a display by members of an Oklahoma City group called the OK Soles.

“They have a ton of Kevin Durant sneakers,” he said, referring to shoes endorsed by the Oklahoma Thunder NBA team star. “Every person in the group has a favorite line they go after. When they come together, it’s a really amazing display.”

Barnett, who works for the Sedgwick County Health Department, is promoting the convention along with fellow members of The CRWN marketing group. In addition to sneakers, the event will feature on-site hair cutting by Incision Premium Barbershop and music from DJ Carbon and hip hop artists Kyle Aaron and XV.

Top 10 favorite Wichita restaurants that have closed

Tis better to have eaten and lost than never to have eaten before.

Or is it?

Two weeks ago, we asked Wichita Eagle readers and food fans to share memories of once-beloved Wichita restaurants that lived out their life cycles and closed, leaving fans hungry and nostalgic for years and years. We heard from more than 300 people, who responded via Facebook, e-mail, phone calls and snail mail.

They named nearly 200 Wichita restaurants that are no more – some that have been closed for decades, some that have been closed only a few years, months or weeks. They lamented burgers they could still taste, yeast rolls they could still smell and missed menu items that haven’t been matched since and probably never will be.

By far, the most-mentioned missing restaurant was Angelo’s, which closed in 2006 after serving Wichita pizza, manicotti and Italian salad with pickled eggplant for 46 years.

“Too bad Angelo’s is no longer,” Judy Young said in her e-mailed response. “Long before fast food this was the cheapest place to feed my family of four. We would split an order of spaghetti, share a pizza and load up on garlic bread. All would go home full and happy and Mamma didn’t have to cook or wash the dishes.”

The Italian restaurant was started by Angelo and Anna Fasciano, who started out making pizzas out of their basement in the late 1950s. Sicily-born Angelo, who worked at Boeing, would sell the pizzas to co-workers, and the demand was such that he that he finally opened a small restaurant on South Laura in 1960. Wichita had several Angelo’s over the years, the final of which was at 1930 S. Oliver.

By that time, the founders had both passed away and the restaurant was being run by their son, Jack Fasciano, who struggled to keep it afloat. These days, he’s still making the pizzas and manicotti out of his house and plotting a return. All that’s standing between Wichita and an Angelo’s revival, Fasciano has said on the “Bring Angelo’s Back to Wichita” Facebook fan page, is a serious investor.

The second-most-mentioned restaurant was Dr. Redbird’s Medicinal Inn, which operated in several locations throughout the 1970s and 1980s. (The best-remembered one was at 120 E. Douglas.) It was owned by Richard and Marnie Vliet, who also started the Looking Glass and the original Larkspur, and it was known for its piled-high sandwiches.

Reader Ted Jillson shared a scan of a menu he still has, which lists sandwiches with medical-sounding names like the “Consumption Cure,” the “Daily Regulator” and the “European Restorative.”

“Best sandwiches in the whole world,” said Carol Stein Beat in a Facebook post. “My favorite was the turkey with asparagus. This restaurant probably closed 30 years ago, and I still miss it.”

Rounding out the rest of the top 10, with the highest vote-getters first, were:

•  Albert’s: This Chinese restaurant was founded by Albert Mar in 1947 and operated on North Hillside until it moved to Kellogg and Woodlawn in 1953. It closed in 2001 after 54 years of business, the victim of increased competition, a tight job market and a new generation of family members uninterested in taking the restaurant over from its aging founders.

During its early years, Albert’s was one of the only places in Wichita to get international cuisine. Its fans remember its black booths, red lacquered walls and a candy and gum display near the counter. “I have never found comparable Asian cuisine,” said Pete Janzen in his Facebook response. “Their walnut chicken is something I still wistfully recall when I go past there on the frontage road.”

•  Applegate’s Landing:This restaurant, which operated in the 1970s, had at least three locations, including the original at 13th and Oliver. It served pasta and pizza and had a salad bar that was built into the bed of an antique truck. Customers still rave about its Gilbertini, a pasta dish made with sausage, cheddar, Mozzarella and garlic.

•  Romano’s Macaroni Grill: It was a chain pasta restaurant, but it was a good chain pasta restaurant, say its many fans. Romano’s Macaroni Grill opened in 1997 and closed almost exactly 10 years later after opting not to renew its lease at Bradley Fair. It was demolished, and Barnes & Noble was built on the site. Diners liked the pasta dishes and the singing waiters.

“That was where my husband and I had our first official dinner date over 14 years ago,” said Marina Fulton in her Facebook response. “We used to go back on our anniversary until they tore it down for a book store. Very disappointing. I loved their lobster ravioli and how they served you Chianti in water glasses.”

•  Grandy’s: This chain still exists, but not in Kansas. Grandy’s pulled out completely in 1999, when it closed its five Wichita stores, one of which was at 233 S. West St., where Hog Wild operates now. It was known for its fried chicken, yeast rolls and cinnamon rolls.

•  Willie C’s: For years, Bill Rowe’s Willie C’s Cafe & Bar was the place to be in Wichita. Rowe closed Wichita’s last Willie C’s, at 656 S. West St., in 2008, ending a 24-year run. Rowe started the restaurant in 1985, and at one time, there were five Willie C’s, including two in Wichita. It was known for its automobile decor and its family-friendly menu.

•  La Palma: This home-style Mexican restaurant, founded by Bogota, Colombia, native German Reyes, opened at Lincoln and Governour in 1974. It moved to 5231 E. Central, where it operated until it closed in 1992. La Palma served fresh tamales, pork chile verde, ham-and bean-filled flautas and more.

“Still my favorite Mexican restaurant to date,” said Timirie Shibley, co-owner of Doo-Dah Diner at 206 E. Kellogg. “Great flour fried tacos, enchiladas and their salsa was like none other.”

•  Magnolia Cafe: Alan Bundy opened Magnolia Cafe in 1986 at Central and Woodlawn. It specialized in Caribbean, Cajun and Creole food and had a hot-pink exterior. He turned it into Charlie Tango’s in 1994.

•  Garden Cafe: This longtime favorite in Brittany Center at 2120 N. Woodlawn closed in the summer of 2000 after being in business for more than six years. It was a popular breakfast and lunch spot and served giant cinnamon rolls.

“My favorite Wichita restaurant of all time,” said Marni Lanowy. “I loved the variety of different potato casserole entrees and being able to choose from awesome muffins – raspberry and morning glories were my favorites.”

Other restaurants that received multiple mentions: Kwan Court, The Lazy R, Portobello Road, Estalita’s, Rio Bravo, Tommy’s, The Old Way Station, Chateaubriand, Pasta Mill, Steak & Ale, Johnny Carino’s, The Black Eyed Pea, Spaghetti Warehouse, Hickory House, Yen Ching, Abe’s, The Fife and Drum, Elizabeth’s, Shakey’s Pizza Parlor, Ichiban Japanese Restaurant, Diamond Head Restaurant, Mr. Dunderbak’s, Ferrell’s, Longneckers, Gambucci’s, Amarillo Grill, White Castle, Red Mesa, Ted’s Montana Grill, Cafe Chantilly, Bartelli’s, Italian Garden, Joe Kelly’s Oyster Dock, Sub n’ Stuff, Brown’s Grill, Pizza Inn, Tippin’s, Cedar Saloon, Buck’s Barbecue and Zipps Drive Thru.

Human consciousness on canvas

Kent Thomas Williams aims to capture human consciousness on canvas in his latest exhibit. While that may seem immeasurable to many, the artist, architect and original cofounder of the Fisch Haus Studios has been focused on illustrating the varied dimensions of collective thought for years. For the first time in nearly a decade, he will unveil a body of new work on Friday that will be on display throughout the weekend at the Wichita Center for the Arts. It’s an exhibit that will bend the mind and challenge assumptions.

“This is a work that in part brings up time travel, atonement, vision, reconciliation, the evolution of us as individuals and also collectively as a culture,” said Williams, 48. “Sometimes artists are dealing with the visual realm, but one of our jobs and opportunities is to help people undo the visual prejudice that develops in life. We can trick ourselves to kind of unlearn and learn bigger.”

A consulting artist by profession, large-scale visions are intrinsic to Williams’ art. He’s most recently been identified through his public projects for municipal and engineering clients and has crafted works like the pedestrian bridge connecting Sim Park and McLean Blvd. in Wichita and also the Water Treatment Facility expansion in Salina.

Since 1999, he has also been expanding a drawing called “The Visual Record of a Noisy Planet.” It’s a massive work that opens a window into the vastness of landscapes that are within the human mind and also formed collectively as a people. The drawing has been displayed as a whole once and many times in segments at several local galleries. It currently measures 850 inches by 44 inches.

This new exhibit expands on it. “Cusp: Arrival of the Qoolieros, Into and Through the Noisy Planet” takes a closer look at the original work, which will be wrapped around three walls of the gallery, by exploring its supernatural realms. These realms are inhabited by spirit beings called Qoolieros, which appear from portals in the drawing to communicate lessons from the past to the future. While they appear harsh at first, their callous nature fades into something softer upon closer examination. They’re both meditative and intense to look at.

“Qoolieros possess attributes that exist in a lot of cultures, like Kachinas in Native American culture,” Williams explained. “They’re like an entity that exists in conjunction with humans. They’re like a costume that a human wears and when a human wears them, the deity that is within every human is activated and shares time and space with the deity that is within the Qoolieros.”

One of the lessons coded within the works is commentary on the salient issue of genocide. Williams expounds, though, to explore a more ethereal, full-scale look at the nature of the ideology behind mass-elimination.

“The piece is partially an argument against genocide. It’s a large topic to explore and I think it’s one that is continually relevant,” he said. “It’s not just genocide of species; it’s genocide of abilities and human capabilities and tendencies. We possess a whole lot of abilities genetically that we either show or fail to exercise when we let culture get too specific, when we let culture dictate that there’s a norm. This is a bit of an endeavor of reinvigorating a bit of that.”

Williams’ drawings are multidimensional, with a lot to take in while examining even a small part. He said that people who really get into his work typically become transfixed, often coming back to the gallery after a few hours or stopping by the next day to take in more.

“You can find a lot in it as it is, even without this new chapter,” Williams said of his work. “It all really comes back to us getting past some of these self-imposed barriers that we as a culture put up.”

‘Lucy’ affirms Scarlett Johansson’s niche as action heroine

After a decade when the only person to take her seriously was Woody Allen, Scarlett Johansson seems to have found her groove as of late, with the new actioner “Lucy” as further confirmation of her niche.

She’s been a poker-faced Russian comic book heroine in “The Avengers” universe, a murderously humorless alien in the small indie “Under the Skin” and a voice a guy could fall in love with in “Her.” And that’s the polished skill-set she brings to “Lucy,” a vulnerable college student whose poor choice in beaus gets her tangled up with a Korean/Taiwanese mob about to unleash an irresistible new drug on Europe.

Lucy resists the pleas of Richard (Pilou Asbæk) to deliver a briefcase, so he just handcuffs it to her and sends her in to meet her fate with Mr. Jang (Min-sik Choi).

Jang’s bloody hands and the bodies he steps over to get to her make Lucy whimper in fear. And that’s before she realizes what his associate, “The Limey” (Julian Rhind-Tutt) has in store. They need to transport this potent new drug and she’s to be one of the couriers. They knock her out and sew it into her intestines.

“I’m afraid it’s our business model.”

But an unexpected beating makes the drug leak into her system, and that’s when Lucy starts to discover how “limitless” her potential truly is.

That “We only use 10 percent of our brain” stuff, basically recycled from the Bradley Cooper thriller “Limitless,” is delivered by Morgan Freeman in a lecture in Paris, while Lucy struggles to survive Taipei long enough to get on a plane to meet him.

Johansson gets a marvelous, simple phone call scene where she tells her mother, “I feel everything – space, time … the rotation of the Earth, the heat leaving my body.” And that’s just the beginning. Big numbers on the screen tell us when she clears 20 percent brain usage, 40 percent and so on.

French action auteur Luc Besson, who turned to producing with the “Transporter” and “Taken” movies, mounts a dazzling fast-motion car chase through Paris and scintillating Scar-Jo slo-mo faceoffs with legions of bad guys in this insanely ambitious popcorn popper.

Special effects get across the evolved state Lucy is headed for, and simple, comical intercuts of animal kingdom footage show leopards hunting gazelles and the like, just to underline the predatory nature of Lucy’s first encounters with the bad guys.

Amr Waked plays a befuddled French cop caught up in her quest, and things turns deliriously silly and metaphysical as the film veers into Johnny Depp “Transcendence” omnipotence.

But Johansson never wavers, never varies the confident, robotic monotone that Lucy adapts as she controls her mind, her body and then others, and finally gravity and physics itself. She lets her hair fall, strategically, over her right eye and doesn’t blink or wrinkle her short skirts as she guns down or psycho-kinetically punches out or levitates the bad guys. It’s not a great performance, just a perfectly consistent one.

Besson’s script may let her (and Freeman) down in the third act, but the 89 minute-long “Lucy” is so brisk it'll give you whiplash. Even marginal thrillers benefit from a director and star who have a sense of urgency and are as hell-bent as this on not overstaying their welcome.

Concerts coming soon to Wichita, central Kansas (July 25)

Bone Thugs ’N Harmony, Friday, Cotillion ($25-$85, www.thecotillion.com)

Paramount, Aug. 1, Cotillion ($12-$15, www.thecotillion.com)

“American Idol Live,” Aug. 2, Kansas Star Arena ($38, $58, www.ticketmaster.com)

The Nearly Deads, Aug. 2, Orpheum ($15, www.selectaseat.com)

Barenaked Ladies, Aug. 6, Orpheum ($45-$65.50, www.selectaseat.com)

Sick Puppies, Aug. 6, Cotillion ($20-$23, www.thecotillion.com)

Galactic, Aug. 8, Stiefel Theatre, Salina ($25-$32, www.ticketmaster.com)

Jesse Cook, Aug. 10, Stiefel Theatre, Salina ($28-$38, www.ticketmaster.com)

Scotty McCreery, Aug. 10, Cotillion ($25 until July 17, $30 July 18-Aug. 10, $35 day of show, $75 VIP, www.thecotillion.com)

Here Come the Mummies, Aug. 15, Cotillion ($25-$30, www.thecotillion.com)

Sevendust, Aug. 17, Cotillion ($21.50-$25, www.thecotillion.com)

Chris Isaak, Aug. 20, Orpheum ($55-$69, www.selectaseat.com)

Stoney Larue, Aug. 22, Cotillion ($16.50-$20, www.thecotillion.com)

Mickey Gilley, Aug. 22, Century II Concert Hall, ($20-$40, www.wichitatix.com)

Winter Dance Party, Aug. 23, Orpheum ($22.50-$32.50, www.selectaseat.com)

Styx, Aug. 24, Stiefel Theatre, Salina ($86.85-$107.65, www.ticketmaster.com)

Queensryche, Aug. 28, Cotillion ($20-$23, www.thecotillion.com)

Cheap Trick, Sept. 5, Kansas State Fair Grandstand, Hutchinson ($22.50, $32.50, $49.50, www.kansasstatefair.com)

Hunter Hayes, Sept. 6, Kansas State Fair Grandstand, Hutchinson ($37.50, $47.50, $75, www.kansasstatefair.com)

Sawyer Brown with Aaron Tippin, Sept. 7, Kansas State Fair Grandstand, Hutchinson ($26, $34, $44, www.kansasstatefair.com)

Country Gold featuring Leroy Van Dyke, Sept. 9, Kansas State Fair Grandstand, Hutchinson ($28, www.kansasstatefair.com)

Matthew West with Cloverton, Sept. 10, Kansas State Fair Grandstand, Hutchinson ($15, $20, $30, www.kansasstatefair.com)

Eli Young Band, Sept. 10, Cotillion ($26.50-$30, www.thecotillion.com)

Aaron Watson and Jack Ingram, Sept. 11, Kansas State Fair Grandstand, Hutchinson ($15, $25, $35, www.kansasstatefair.com)

Chris Young with Courtney Cole, Sept. 12, Kansas State Fair Grandstand, Hutchinson ($25, $35, $50, www.kansasstatefair.com)

3 Doors Down, Sept. 13, Kansas State Fair Grandstand, Hutchinson ($30, $40, $60, www.kansasstatefair.com)

Loretta Lynn, Sept. 20, Orpheum ($45-$70, www.selectaseat.com)

Get the Led Out, Sept. 23, Orpheum ($20-$29, www.selectaseat.com)

Machine Gun Kelly, Sept. 26, Cotillion ($27-$32, www.thecotillion.com)

Tru TV Impractical Jokers Tour, Sept, 29, Century II Concert Hall ($56.43-$137.50, www.wichitatix.com)

1964, Oct. 3, Stiefel Theatre, Salina ($38-$48, www.ticketmaster.com)

George Thorogood & the Destroyers, Oct. 4, Orpheum ($39, $45, $49, $65, www.selectaseat.com)

The Hit Men, Oct. 10, Orpheum ($35-$49, www.selectaseat.com)

Home Free, Oct. 10, Stiefel Theatre, Salina ($28-$32, www.ticketmaster.com)

Circus Electronica: Singularity, Oct. 11, Orpheum ($35-$49, www.selectaseat.com)

Five Finger Death Punch and Volbeat, Oct. 20, Intrust Bank Arena ($39.75, $44.75, www.selectaseat.com)

Heart, Oct. 24, Stiefel Theatre, Salina ($79-$105, www.ticketmaster.com)

Masters of Illusion, Aug. 27, Orpheum ($35-$60, on sale 10 a.m. Friday, www.selectaseat.com)

Alton Brown, Oct. 28, Century II Concert Hall ($49.50, $60.50, $71.50, $110, www.wichitatix.com)

Straight No Chaser, Oct. 30, Century II Concert Hall, ($32.45-$54.45, www.wichitatix.com)

Cher, Nov. 3, Intrust Bank Arena ($21.50, $41.50, $77, $127, www.selectaseat.com)

Joe Bonamassa, Nov. 5, Century II Concert Hall ($78.66-$101.46, www.wichitatix.com)

Rodney Carrington, Nov. 7, Stiefel Theatre, Salina ($57, www.ticketmaster.com)

Cameron Carpenter, Nov. 8, Stiefel Theatre, Salina ($25-$42, www.ticketmaster.com)

Big Smo, Nov. 14, Cotillion ($15-$18, www.thecotillion.com)

Eric Church, Dec. 4, Intrust Bank Arena ($25-$79.50, www.selectaseat.com)

Under the Streetlamp, Dec. 5, Orpheum ($30-$40, www.selectaseat.com)

Trace Adkins Christmas Show, Dec. 6, Stiefel Theatre, Salina ($62.50, $80.50, www.ticketmaster.com)

Michael McDonald Holiday Songs, Dec. 16, Stiefel Theatre, Salina ($57, $67, $77, www.ticketmaster.com)

Mannheim Steamroller Christmas, Dec. 21, ($53.90, $71.50, www.wichitatix.com)

Disney On Ice, March 12-15, Intrust Bank Arena ($12-$60, on sale 10 a.m. Aug. 5, www.selectaseat.com)