Our [art]seen bloggers are University of Michigan students who review arts events on and near campus, sharing their thoughts and experiences on live music, film screenings, dance performances, theatre productions and art exhibitions. Take a look back at some of our most memorable reviews of arts events this past year by clicking on the Year in Review(s) 2023 tag. See what our bloggers went to and read what they thought!
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SMTD students are often encouraged to pursue a senior thesis at the end of their degree to show off the skills they’ve developed in college. On Saturday, I went to see “People are Things”, a directorial thesis by Tiara Partsch. In general, I tend to really love going to senior shows. They’re usually only about an hour long, free, and experimental in one way or another. “People are Things” reminded me why these are the shows I frequent. “People are things” is a one act play, which includes a brief introduction, and covers themes of trauma and class struggle.
When I walked in the Newman studio, where the performance was being held, the space was completely dark except for one fixture on stage. There were no chairs, and the audience was encouraged to circle around the only actress on stage. I remember feeling somewhat uncomfortable, like the audience was being involved in something that was harming the character we were all watching. She seemed freaked out by all of us standing there, and her performance reflected that. She was playing with a pile of dirt and fake plants as the audience surrounded her, shaping the dirt in mounds and placing the plants inside. She would then get upset, smash the dirt piles, and try to run off stage, only to be pulled right back to what she was doing.
The rest of the play centered around a 54 year old woman’s mental breakdown, involving a violent incident with her boss where she held him hostage with a knife. In the play, her identity is split into multiple parts, each one focusing around a different aspect of the act of violence she engaged in. This is something I really loved about the play because it reminded me of how frantic your thoughts can be after experiencing something upsetting. How you go through the events in your head, fixating on certain details. While the play only covers events that take place over a couple days, it really showed me how intricate traumatic events can be. I feel that performances tend to use violence as a way to keep people engaged with a story, but I really appreciated how “People are Things” also talked about the ramifications of something like that on a persons mental health.
It’s not often that I see a show that leaves me as moved as Basement Art’s production of Falsettos did.
Basement Arts is an organization whose mission is to create “inclusive student-produced theatre by allowing students from across campus to execute all aspects of the theatrical production process”. They perform three shows a semester, as well as produce the annual Late Night events such as the Mx. Walgreen Pageant and 24-Hour Theater. This semester already featured some emotional heavy hitters —Collective Rage: A Play in 5 Betties by Jen Silverman and For Colored Girls/When The Rainbow is Enuf by Ntozake Shange.
Falsettos is a culmination of merging two one-act musicals, March of the Falsettos and Falsettoland, produced individually in 1981 and 1990. A fully sung-through musical— there are few moments without song. However, much of the show reads as a play, with heightened drama in every moment and not a single superfluous word. The show follows a Jewish Family in New York City in the 1970s— Marvin (Sam O’Neill), the frustrated ex-husband of the underappreciated Trina (Caroline Patterson), and partner to the stylish Whizzer (Caleb McArthur). Trina and Marvin’s son, Jason (James Parascandola), is growing up quickly, rapidly reaching the age of his bar mitzvah. Among all this, Trina and Marvin’s psychiatrist, (the charming yet awkward Mendel played by Sammy Guthartz), fall in love and get married. Thus, completes the web of this unusually interwoven family. That is, until you meet the quirky lesbians from next door in Act II, Dr. Charlotte (Abby Lyons) and Cordelia (Kate Cummings).
Falsettos was written by the incomparable William Finn and James Lapine, both Jewish writers (and Finn identifying as queer himself). It’s hard not to love this gem of a show. Its mechanical musical composition and emphasis on developing endearing and complex characters make the show feel complete and questionably familiar. The music is fun and catchy yet requires exceptional musical expertise to execute well (skillful music direction by Caleb Middleton). The story blends humor and heartache while these characters are on their quests for happiness and acceptance.
The relevance that Falsettos retains from its 1992 premiere is remarkable. Difficult family dynamics, a rapidly changing social landscape, and a world that feels like it’s uncontrollably crumbling around them. Successful musicals stand the test of time, and after over three decades it’s clear that Falsettos made the cut.
The cast of “Falsettos” and director Naomi Parr.
Director Naomi Parr states in her director’s note: “Falsettos addresses devastating tragedy but lives instead in the celebration of life, including mishaps that surround these moments of grief.” With one of the most responsive and touched audiences I’ve ever encountered, it seems the only thing missing from Falsettos was another weekend of shows.
April 6th, 9pm. Newman Studio. Images thanks to Naomi Parr and Basement Arts.
Wall to Wall Theater Festival was formerly an annual event in the Walgreen Drama Center before the pandemic. I am thrilled to see its return — back and better than ever. Producers Jeff Wagner, Kate Ivanov, and Tate Zeleznik have revitalized the festival at The School of Theater, featuring five unique works directed by SMTD students.
Wall to Wall is described as an “immersive performance experience [where] five different short-form interactive pieces play throughout the hallways, classrooms, and studios of the Walgreen Drama Center. Each performed several times through the night, giving audiences a chance to curate their own experience traversing through live music, theater, and performance art offered through the festival.” It juxtaposes a normal theatrical experience allowing the audience member full control over their space and consumption of the art.
The first piece I wandered into seemed like a mini-haunted house. Instantly, I knew this sinister set-up was the work of senior directing student Mirit Skeen. Through a maze of dark fabric, There was a haunting voice looming inside—singing Rachmaninoff Op. 38 otherwise known as “6 Romances”. This set was performed by the glittering soprano, Juliet Schlefer and lyrical pianist Eric Head. I loved this creative and eerie presentation of a rather mysterious operatic song cycle.
Drake Zhao and Sarah Hartmus performing a scene from “Hookman”.
Two performances featured scenes from straight plays. Shakespeare’s Corner (dir. Olivia Ray) featured a short scene from The Taming of the Shrew, which follows the marriage of headstrong Katharina to Petruchio, who employs various strategies in an attempt to dominate her. In the hallway upstairs, a part-comedic-part-horror scene from Lauren Yee’s Hookman was being performed (dir. Katy Dawson). The scene revolves around two college girls being followed by a (you guessed it) man with a hook. It was a totally unassuming and endearing scene, with such a great use of the hallway space.
UMPH Jazz Band and Musical Theater student Sage Taylor.
UMPH is an up-and-coming Ann Arbor jazz band featuring Cole Oswalt, Luke Pisani, Shudane Hendrix, Max Rubin, Max McDermitt, and Alex Lahti-Thiam. This band brought a roster of musical theater students to sing R&B and funk tunes. I loved the concert-like vibe in the room, it was a nice juxtaposition to the theater.
The final piece I watched was downstairs in the basement. The group of eight performed two numbers from Dave Malloy’s chamber choir musical Octet, a musical about internet addiction. This show does not use any musical instruments, only the human voice. The team included Marcus Byers (Choreography) Alex Confino (Music Director), and Kate Ivanov (Director), who masterfully assembled this lesser-known gem with an all-star cast of vocalists.
I do hope Wall to Wall returns again! The creative use behind each space in the Walgreen and the simplistic brilliance of each nugget of theater came out to be a ton of fun. The creativity within the students of SMTD is truly remarkable.
April 7th, 7pm. Images thanks to Jeff Wagner. Title Image: Kate Ivanov’s Octet.
The Department of Voice and Opera eagerly welcomed Will Liverman and Karen Slack to a residency this semester, both of whom have enjoyed wildly successful careers as opera singers worldwide.
Karen Slack is an American soprano known for her powerful and emotive voice, as well as her versatility across a range of musical styles. She has performed with major opera companies and symphonies worldwide, in both traditional operatic repertoire and contemporary works. Slack debuted the role of Billie in Terence Blanchard’s Fire Shut Up In My Bones at the Metropolitan Opera in 2019, as she maintains a strong commitment to performing the work of living composers. She was awarded the Sphinx Medal of Excellence in 2022, a prestigious award for artistic achievement. She is an active educator and coach in Universities across the country, including our own! In addition to her vocal presence, she also hosts an interview web series called #KikiKonvos. It began on Facebook Live in the height of the pandemic and has continued ever since.
Will Liverman is an American baritone with a collection of prestigious operatic credits as well as successful discography and concert work. He debuted the role of Charles in the Metropolitan Opera’s Fire Shut Up In My Bones, by the fabulous Terence Blanchard. (The album of which won the 2023 GRAMMY Award for Best Opera Recording.) Last season, he sang the title role in Anthony Davis’ groundbreaking work, X: The Life and Times of Malcolm X at the Metropolitan Opera. As well as a highly desired singer, Liverman is also a composer. The Lyric Opera of Chicago presented the world premiere of Liverman’s new opera, The Factotum, which he starred in and composed with DJ King Rico. He has performed worldwide in operas and recitals while making time to educate and coach in universities across the country. He also has the most fabulous shoe collection I have ever seen.
The two held a 3-day residency at the School of Music Theater and Dance, holding a departmental Q&A, a vocal masterclass, and finishing out with a stunning recital featuring the two. It was incredible to hear these performers speak about their lives as opera singers, as they have been instrumental figures in modern-day classical music.
The recital featured a collection of songs by Margaret Bonds, Harold Arlen, Nina Simone, Florence Price, Undine Smith Moore George Gershwin, and Shawn Okpebholo! The repertoire choices were predominantly by Black and female composers, a majority that is not often represented in the classical canon. Their performances of these art songs and arias were each thoughtful and provocative, with thoughtful emphasis on the text. There was a true connection and conversation within each piece, along with some of the most virtuosic vocalism I have ever encountered.
The two wrapped up the recital with the iconic duet from Gershwin’s Porgy and Bess, “Bess You Is My Woman Now”. A beautiful and heartwarming duet, I thought a wonderful way to end the evening—until their encores! Liverman performed a beautiful and pensive song he composed, and Slack sang Giordanni’s “Caro mio ben”, a tune brought into the mainstream from Beyonce’s new album.
Their residency was truly spectacular, filled with inspiring vocalism and encouragement for aspiring singers. What a gift to welcome these educators and performers to our University!
After a long break, the dance department’s Student Choreography Showcase (SCS) made a much-anticipated comeback. This year, I decided to take part in choreographing and performing a solo for the showcase. The months leading up to the showcase were filled with creativity and excitement as I, along with other dancers, began creating our works. For dancer majors, SCS is a unique opportunity to choreograph and perform work, and that usually doesn’t happen until their senior year. So, SCS became the perfect platform for dancers to finally showcase their creativity and performance abilities! On March 30, majors, minors, and non-affiliated students all came together for a night of love, heartbreak, and fun!
The performance showcased interdisciplinary works like Ladina Schaller’s solo, which involved a projection with a video that she edited herself. Her work was an ode to her home in Switzerland, featuring beautiful landscapes and her navigating interesting sculptures. Nicola Troschinetz, a musical theatre major, choreographed a duet with Evan Tylka, also a musical theatre major, that brought extremely engaging dynamics and interesting partnering techniques. It was extremely exciting to have musical theater majors and Audrey Andrews a theatre major perform in this show. Expanding the love of dance beyond the dance department welcomes new people to the program and opportunities to perform in this beautiful art form. The talent and dedication of these performers was truly inspiring, showcasing their creativity and passion for dance.
The last three pieces were solos performed by Claire Schick, Amelie Vidrio, and me! I bring these up because–as most audience members can also admit–the last three pieces were especially sad and emotionally heartbreaking. Claire’s solo was to the song “Audrey” by Bread, a song that she heard often throughout her childhood. It mixed youthful elements like cartwheels with complex floorwork and music-based quick movements. Amelie Vidrio’s solo was to “Sayonara No Kane” by Hako Yamasaki, a 70s heart-wrenching Japanese ballad. Amelie used a chair throughout the piece in unconventional ways: as a dancing partner, a tool to balance on, and eventually spun in a circle with it and threw it to the audience (creatively avoiding hitting anyone,of course!). My piece also utilized a prop, a house lamp, and a pile of clothes. Robert, the lighting designer, did a great job at creating the perfect atmosphere that worked with the onstage lamp perfectly. Toward the end of the piece, I took off the shade of the lamp, and that created a huge shadow of my body onto the backdrop. It was better than I could have imagined.
This event will hopefully continue each semester from now on, giving more students the opportunity to choreograph a dance piece and perform on our amazing stage. I highly recommend coming to the next show to see a diverse range of dancers and styles performed with creative lighting that is unlike any other show you will see at this university.
Another unforgettable MEMCO (Michigan Electronic Music Collective) Impulse event at Club Above!! The theme of this month’s event was: Roots. It celebrated and highlighted black DJs, reminding all of us of techno music’s history–it was created by black people, specifically not too far from Ann Arbor in Detroit, Michigan. This event was paired with a film premiere of a new documentary (12 years in the making) about Detriot techno called God Said Give Em’ Drums and a panel discussion with legendary Detriot Djs like Stacy “Hotwaxx” Hale, Delano Smith, John Collins, and DJ ETTA. I sadly was unable to attend the screening and panel but the good news is the film will be in theaters soon! So when you are all able to, go watch it!!!! Then, come celebrate at a MEMCO event. If you haven’t been to one yet this is a great time to start, and if you want a preview of what you could experience…keep reading!
I go to most MEMCO events, but I was especially excited for this one. I am originally from Los Angeles, California, and coming to Ann Arbor, Michigan, it was hard for me to feel a part of the community. I don’t like sports games, I don’t call soda “pop,” and I’m not sure I could tell you anything about the automotive industry (not to diminish Michigan culture to these three things, but I hope you get the point). Learning about the origins of Techno music and going to my first MEMCO event, I felt right at home and proud to call Michigan my new home. Roots was the first MEMCO event I’ve gone to with only black DJs. It was some of the best sets I’ve heard. There wasn’t a moment that I didn’t want to dance and move my body. Even when DJs switched the transitions were smooth and intentional–there was never a moment of stillness.
My personal favorite sets were from DJ ETTA and MEMCO’s own NAPHTHA. DJ ETTA’s set was extremely fun, mixing hip-hop music with funky techno beats. She did an amazing job pacing each track and the evolution of each sound, i.e., adding sounds, distorting them, and playing with pacing/types of beats used. NAPHTHA was surely my favorite, though. His set had everyone dancing and gasping at the perfect transitions from track to track. I remember Club Above turning the lights on at the end of the set, and a group of us were so distracted by his set that we wouldn’t stop dancing. It’s one of those things where “you had to be there”. Looking up at the DJ booth, it looked like NAPHTHA was a scientist and was carefully using the mixing board–he knew how to use it so well I swear he could’ve made the board himself. It made me so excited that NAPHTHA is a UMICH student, and that someone so talented gets to share the campus with all of us. He is also currently a junior and will be around next year, DJing for more events so if you get the chance you must hear him play!!! I would not recommend anything more. The next MEMCO event is on April 20th at Club Above. The theme is Femme Fatale, and all of the DJs will be femme DJs!! Another very exciting event ending the semester with a BANG!
