Our [art]seen writers cohort is comprised of University of Michigan students who review arts events on and near their campuses, 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!
REVIEW: Wicked
Good news! Wicked, the film adaptation of the first act of the smash hit Broadway musical of the same name, is wonderful.
Directed by Jon M. Chu, Wicked is a prequel to The Wizard of Oz. Based generally off of the novel by Gregory Maguire (Wicked: The Life and Times of the Wicked Witch of the West; unlike the rest of involved properties, decidedly not PG), as well as the 1939 movie, Wicked centers around Elphaba (a standout performance by Cynthia Erivo), who will become the Wicked Witch of the West, and Glinda (Ariana Grande), who will become the Good Witch of the North.
Wicked is a movie-musical, and unapologetically so. The chorus is vast and excellent. The choreography (by Christopher Scott) ranges from crisp and upbeat to gentle and heartfelt; and, when it’s happening, there’s a good balance between close-up shots and larger crowd shots. All of the songs from the Broadway musical’s first act are included, though almost all have been expanded (one, in service of a fun, fan-service cameo, so much so that it essentially constitutes a new song). The sets and costuming are minimally CGI, vast, bright, and colorful. Like many musicals, the whole effect can be a bit campy, but it’s not garish, and it doesn’t shy away from darker aspects of its plot.
The movie opens in the “present day” of the Wizard of Oz, after Dorothy has killed the Wicked Witch. Glinda arrives in her bubble to a town in Munchkinland, whose residents are rejoicing that the Witch has just been killed (“No One Mourns the Wicked”). After a short flashback detailing Elphaba’s birth, Glinda confesses that she did, in fact, know the Witch: the two went to school together, at Shiz University.
Grande is at her weakest musically in her opening number: this is the most “legit” (pseudo-operatic) piece for Glinda, and Grande lacks the technique to pull it off. Her voice sounds overly thin and weak, particularly on the higher notes. Presumably to compensate, the autotune and sound editing, generally tasteful, are palpably stronger here. Grande does make a much better showing for herself in the rest of the film, though. Most of Glinda’s singing is more pop than classical, which Grande does with aplomb; her performance in “Popular,” an upbeat number in which Glinda decides to give Elphaba a makeover, more than makes up for “No One Mourns the Wicked.” Grande also has impeccable comedic timing, aided by her sidekicks Pfanee (Bowen Yang) and Shenshen (Bronwyn James), and her chemistry with Erivo is impeccable. Erivo is the stand-out here, with a wry, rich, nuanced portrayal and a glorious singing voice. Her “Defying Gravity,” which ends the film, is a show-stopper in more ways than one.
While there are darker political machinations happening in the background, the heart of the film is Glinda and Elphaba’s relationship, and its slow shift from enemies to friendship. It feels real, and it’s refreshingly imperfect. They hurt each other, but there’s a sweet and genuine core to it, which heightens the stakes when the two must eventually break apart to Good and Wicked.
REVIEW: Uncle Vanya
December 13 | 7:30 pm | Ann Arbor Civic Theater
Chekhov’s stories task audiences to examine the challenges of the human condition. In one of his most famous plays, Uncle Vanya, troubles manifest in a more ironically despairing way. The production, which ran for a second weekend at Ann Arbor Civic Theater last Friday, centers on the near-penniless Ivan Petrovich Voynitsky (better known as “Vanya”), who claims to have the most troubles—at least he thinks so. His extended family joins him at his late sister’s estate, only to share his dissatisfaction with life. How does a play doused in apathy preserve itself over a hundred years? And who is paying the mortgage?
Vanya’s (Trevor Maher) loathing is interrupted when his brother-in-law, the ex-professor Alexander Serebrakov (Bryan Shane), arrives with his beautiful new wife, Helena (the stoic Nicole Arruda). She becomes the object of affection for both Vanya and the household doctor, Michael Astroff (a spritely Joseph McDonald). The two men are infatuated with Helena, while she harbors only ambiguous feelings for Astroff. Yet she grapples with an understated resentment toward Alexander (Mr. Shane, who led a stately and demanding performance).
While Dr. Astroff and Helena shared coy exchanges, the spark of love did not burn bright for the young Sonia (Mackenzie Finley), Vanya’s niece, who had a seemingly teenage infatuation with Dr. Astroff. Though he flirted with the idea of her affection, the only make-out sesh occurred between him and Helena (unknowing to Alexander, of course). All this romantic ruckus left “Waffles” (Larry Rusinsky) and the family nurse Marina (a charming Wendy Wright) as the standing symbols of support and consistency.
As Ms. Wendy Katz Hiller’s director’s note acknowledged, productions of Uncle Vanya are appearing all over the country: The Broadway Revival starring Steve Carrell ran last spring, and Andrew Scott’s one-man Vanya from the West End is culminating in a Broadway run next spring. In addition to those big productions, I’m confident you could find at least one Uncle Vanya in every major city across the U.S. Vanya’s existentialism and exhaustion are wrapped in a search for purpose, creating a character who can be frustratingly familiar. The beauty of Chekhov’s text lies in its sustained relevance across decades, revealing universal feelings that make the production feel timely at many points in our history.
The usual two-and-a-half-hour runtime was whittled down to a crisp 95 minutes by Ms. Hiller—a choice greeted with narrative clarity for modern audiences. We see a succinct plot line, only at the expense of some poetic dialogue (which works for me!). Though, I found myself pining for a dramaturgical deep dive into performance. Historical context enriches a story for me, especially as this work shares many stifling thematic elements with its Chekhovian siblings, The Cherry Orchard and The Seagull (as far as depressed people living under deteriorating wealth go).
Vanya’s inner turmoil brings a bittersweet resolution where life continues unchanged despite everyone’s despair. I begged to feel hope from this story, just as I often do in our modern world, but the only condolence I received was, “We shall rest!” from the optimistic Sonia. Though these characters feel bleak, the curtain call reminded me that hope does exist in the resonance of community-driven theater—where timeless art can be found in every nook and cranny of Ann Arbor.
Photos thanks to Ann Arbor Civic Theater.
REVIEW: Stella Cole at the Blue Llama
December 15 | 8:30 pm | Blue Llama Jazz Club
There are few jazz vocalists more in demand than Stella Cole, an up-and-coming jazz singer from New York City who’s got as much glitz and glam as she’s got vocal chops. The Blue Llama Jazz Club welcomes her for the first time on the winter leg of her US tour.
Ms. Cole’s silky voice will surely transport you into a newly colorized film from the 1940s. With a sound reminiscent of The Golden Age of Hollywood, it’s no secret that Ms. Cole is an admirer of that aesthetic. The 25-year-old gained popularity during the pandemic singing jazz standards and Great American Songbook tunes on TikTok. Today, she boasts over 12 million likes on the app and nearly 770k followers on Instagram. Her debut single was released with Scott Bradlee’s Post Modern Jukebox in 2022, and now Ms. Cole has two studio albums: the newly released “Snow!” and the self-titled “Stella Cole”.
Her trio tonight included Michael Kanan (piano), Mikey Migliore (bass), and Henry Allen-Barfield (drums). She began her set with the Jerome Kern and Johnny Mercer tune “I’m Old Fashioned,” which was a perfectly fitting introduction. Standards “The Boy Next Door” and “Get Happy” followed, plainly revealing her influence from the great Judy Garland.
There was no shortage of Christmas magic from Ms. Cole either. “White Christmas,” “I’ve Got My Love To Keep Me Warm,” and “It’s Beginning to Look A Lot Like Christmas” (to name a few) all made it into the set.
“I’m singing on the “Today” show later this week…” She said, introducing the next tune. “Is it ok if this is a practice run?” Audience members smiled, knowing they received a first glance at her solo version of “Snow!.”
Her set was modest, focusing primarily on her sumptuous vocalism as she performed an abundance of Great American Songbook tunes in a fairly traditional style. The Songbook tradition can be stifling to some modern jazz musicians, but Ms. Cole fully embraces the beauty and relevance of that tradition in her more “straight-ahead” performances.
The ghost of Judy Garland surely beams over Ms. Cole’s recordings of “The Boy Next Door” and “Over The Rainbow,” two of Garland’s most notable performances. Ms. Cole’s suggestive tribute made me consider the history of American music and its influence on our modern times—Songbook tunes pop up all over modern jazz records and are taught thoroughly in academia, and holiday songs released over 60 years ago play on the radio year after year. The pop music of America’s past carries into the future, thanks to its beautiful melodies and heartwarming lyricism, preserved through a modern dedication to tradition.
“So many people of my generation aren’t familiar with these songs, and I’m excited about the opportunity to introduce this timeless music to a new audience,” Ms. Cole says. There is an endurance behind jazz’s relevance, which Ms. Cole is clearly devoted to preserving.
Images thanks to The Blue Llama Jazz Club.
REVIEW: As Long as the Lemon Trees Grow – The Play
On December 6th, at 5 PM, the Ford Collaboratory in the Mardigian Library became a portal to war-torn Syria through the powerful stage adaptation of Zoulfa Katouh’s As Long as the Lemon Trees Grow. The story, which follows Salama Kassab’s heartbreaking journey through the Syrian civil war, was beautifully translated into a theatrical experience
The play centered on Salama (played by Leila Haddad in a standout performance), a former pharmacy student turned volunteer medic. Leila captureed Salama’s internal struggle with raw, unflinching authenticity. Her portrayal of guilt, hope, and despair—especially in moments of silence—felt like a masterclass in restraint. Haddad’s ability to convey emotion, especially in the quieter, more introspective moments, was mesmerizing.
However, where the play truly shone was in its staging. Director Amira Shafiq, President of the Theater club, created an intimate, immersive experience that makes the audience feel as though they’re walking alongside Salama in the ruins of Homs. The use of minimalist sets striked a balance between realism and surrealism. The lighting design deserved special mention, with its stark contrasts between the warm glow of past memories and the cold, unforgiving present.
One of the play’s most intriguing choices was the personification of Khawf, Salama’s manifestation of fear. Actor Omar Darwish gave Khawf a chilling yet oddly sympathetic presence. His interactions with Salama—at times antagonistic, at times comforting—perfectly captured the inner turmoil of living through unimaginable horrors. These scenes, while impactful, occasionally slowed the pacing slightly, but they were essential in depicting her mental and emotional state.
The dialogue, much of it drawn directly from the book, was both poetic and raw, though some lines feel better suited to the page than the stage. While some of Salama’s reflections felt a bit expository when spoken aloud, they still carried the emotional weight of her journey.
“Perhaps this could have been remedied with more physical storytelling or additional silences to let the weight of the words sink in,” added Alexis Mohammed, a student at the University of Michigan Dearborn.
The supporting cast also delivered heartfelt performances. Yasmin Agha brought warmth and strength to the role of Layla, Salama’s pregnant best friend, though her limited stage time left her arc feeling somewhat underexplored. Karim Al-Rashed, as Salama’s brother Sami, offered moments of levity and hope, with his final scene leaving the audience in stunned silence.
One of the play’s most powerful moments was the climactic hospital scene. The chaos of wounded civilians flooding in, enhanced by overlapping shouts, frantic movement, and a pulsing soundscape, left both Salama and the audience breathless. It was a visceral reminder of the relentless toll of war.
That said, the play did struggle to capture some of the novel’s nuance, especially in depicting Salama’s quieter moments of healing and growth. The ending, while emotionally charged, felt slightly rushed, leaving the audience including myself, yearning for a deeper exploration of Salama’s transformation.
As Long as the Lemon Trees Grow is a story that demands to be told, and this stage adaptation did justice to its poignant message. With stellar performances, innovative staging, and a deeply personal tone, the December 6th performance was more than a play—it was a call to bear witness, to empathize, and to remember.
REVIEW: Anora
Yet another masterpiece from director Sean Baker. “Anora” is possibly the movie of the year, winning the prestigious Palme d’Or at the Cannes Film Festival last May. The film manages to be wildly entertaining and heartbreakingly tender, fusing together comedy and tragedy in a sincere, never tacky, plot. Baker has added a crowning jewel to his already impressive list of achievements – his movies, like “Tangerine,” “Red Rocket,” and “The Florida Project,” are all superb depictions of people living life on the edge.
Anora (played by the excellent Mikey Madison) is a sex worker dancing in an upscale Manhattan club. She’s bratty and charming and sexy; the golden strands woven into her hair, her big brown eyes and pouty lips, and a thick Brooklyn accent seduce both clientele and audience. We might be tempted to make assumptions about this street-smart stripper, but she’s unfailingly competent at her job, wooing the helpless men around her with a sharp confidence and glamour, and even pulling out an accented Russian upon request.
Yet Ani – as she prefers to be called – makes a cardinal mistake: she falls in love at the job. The object of her mascaraed eyes is Ivan (played by the up-and-coming Mark Eydelshteyn), who woos Ani with an ADHD, marijuana-fueled manic appeal and a ready checkbook. The relationship is initially transactional but quickly morphs into genuine affection. The trouble is that Ivan’s sexual adventures are paid for by his father, a wealthy Russian oligarch, who will surely not take kindly to his son’s gallivanting with an American stripper.
Indeed – as anybody but Ani and Ivan could have foreseen – the relationship does not have a happy ending. I’ll spare any spoilers, but let’s just say that there is a scene where Ivan, pulling up his pants with one hand, sprints away from his own mansion and into the city, leaving behind two hired thugs and a weeping, half-naked Ani in his wake. This marks the end of the first act of the film, and it’s only downhill from here.
It would be easy to divide the characters of “Anora” into two categories. The bourgeoisie and the plebeians. The upper class and the working class. The rich kids and their imprisoned servants. The buyers and the sellers. Baker avoids such cliches. Ani is no damsel in distress. She is unfailingly self-sufficient, brash and confident, completely sure of her own worth. But even the toughest Brooklyn girl has a breaking point, as one of the aforementioned hired thugs, Igor (played by a silent-but-strong Yura Borisov), empathetically foresees with a knowing eye. I say “empathetically” here because Igor and Ani are two sides of the same coin. Two young people, essentially enslaved by a spoiled brat, competently but dutifully making their way through an uncaring city.
In a way, Ani is much like the impoverished kids playing make-believe in the Orlando motels that Baker depicted in “The Florida Project.” She has learned how to take care of herself, but yearns for love. She is equal parts brazen and naive. She and Ivan live in the same city, but in completely different worlds. And as she soon finds out, her dreams are pure fantasy.
REVIEW: William Hill III at the Blue Llama
November 30 | 10:30pm | Blue Llama Jazz Club
No better place in Ann Arbor to see live jazz than under the magenta-blue lights of the Blue Llama Jazz Club. These dimly lit corners have housed some of today’s most esteemed jazz players since its opening in 2019, featuring all-star players from our own Detroit and beyond.
Tonight’s late-night set featured the spunky William Hill III, a pianist and composer currently based in Manhattan. Hill’s trio included Detroit-based players Dylan Sherman on the bass and drummer Sam Melkonian. I have seen a few of his sets at the Llama now, where he performs standards from the Great American Songbook along with his original tunes. And to celebrate December 1st’s icy debut, he wove in some holiday favorites.
It’s easy to return to Hill’s sets—he is overflowing with creativity and vibrancy in his playing. His improvisational language is deep and complex, with nods to the great Red Garland and Oscar Peterson (favorites of mine). Combined with his technical virtuosity allows for a really interesting exploration of the Songbook tunes we all know and love. He released his debut album “Three’s Company (Live)” this past July, recorded live at Detroit’s historic Cliff Bell’s Jazz Club.
The sound in The Llama is the second best reason to go (the first being the fantastic musicians, obviously), but the space resonates nicely for such an intimate setting and allows for both a beautiful visual and aural experience (at least from the tables along the back wall). A piano trio fills the stage and the sound in the room super nicely.
The very first tune included a tight bass feature from Sherman. He’s got a pliable sound, with light, effervescent improvisational ideas, making his interaction with Hill such fun to encounter. Never underestimate a swingin’ bassist.
I couldn’t catch the name of every tune but a few caught my ear: A striking version of John Coltrane’s “Moments Notice”, the Strayhorn classic “Take the A-Train”, and “Chant” which seems to be an original composition of Mr. Hill’s. He also included a favorite of mine from his record: “Jilly”, a sweet tune, one that captured the audience amidst its meditative waltz-i-ness.
Holiday tunes included: Duke Ellington’s “Sugar Rum Cherry” (a la Tchaicovsky’s Dance of the Sugar Plum Fairy); a jaunty and playful “Winter Wonderland”; and a burning “Sleigh Ride” accompanied by Detroit trumpeter Jauron Perry to complete the set.
I expect Will Hill III does well in Manhattan—he’s breaking out in the industry almost as fast as he can swing.
Images thanks @bluellamajazzclub Instagram.
