Author: musicalsoup

Musicalsoup is a senior at SMTD who primarily reviews theatrical and musical performances in Ann Arbor. She is active in the student theater scene at UMichigan and enjoys the versatility of the performances she covers on art[seen]. Thanks for reading. :-)

REVIEW: Stop Kiss

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Rude Mechanicals completes their 2023-24 season with the 1999 play by Diana Son, Stop Kiss. Seeing this play was a new experience for me, and quite a beautiful one.

Set from Stop Kiss in the Arthur Miller Theater.

The play follows two young women, Callie (Emilia Vizachero) and Sara (Victoria Vourkoutiotis), who meet in New York City and begin to have feelings for one another. One evening, they share a kiss in the West Village, and it results in a terrible hate crime leaving Sara with a life-altering injury. The play follows a non-linear storyline, jumping from Sara and Callie’s first interaction to weeks after the attack.

 

I am not cultured on much queer theater, so I haven’t been exposed to many pieces where characters are actively discovering their sexual identity during the show—rather many pieces I’ve encountered have characters come in with their sexuality seemingly decided. I enjoyed this piece’s honest and sincere exploration of queerness.

I was immediately struck by Audrey Tieman’s beautiful onstage set when I walked into the Arthur Miller. It brought me directly into the moment of the show with an ornate pink apartment—the 1990s, young, and within a metropolitan city. The major part of the set was far upstage, juxtaposing the thrust space. This left the apartment scenes feeling more presentational than personal, counteracting the intimacy of a thrust. All of the scenes outside the apartment were on the thrust, such as the detective’s office or moments when characters were strolling through the streets of New York City. An interesting choice, that sometimes led me out of the detail of the world that was created in the embellished apartment set.

Emilia Vizachero and Adam Rogers delivered individually exquisite performances. Rogers is effortlessly charming as Callie’s undefined partner, George, and Vizachero brilliantly leads us through a journey of Callie’s many complex emotions over two timelines—one I would be happy to experience again. Vourkoutiotis also played a sweet and gentle Sara, with wholesome chemistry alongside a witty Vizachero.

 

Emilia Vizachero as Callie.

Direction (by Reese Leif) was cohesive and thorough. Scenes and dramatic moments felt naturally paced, at times skimming on hyper-realism, making the play’s brutal contrast of content duly apparent to the audience.

 

The illuminating kiss that closes the play leaves a fully realized portrait of Callie and Sara’s relationship. This perfectly placed scene becomes charged over the duration of the play due to the revelations about what lies behind and ahead of these beloved characters. It was an unforgettable (and titular) moment of the piece, yet left my heart aching for the two women.

 

 

Leo Kupferberg (a fabulous and frequent SMTD Dramaturg) made a beautiful point in his dramaturgy note about the “in-between” of the piece, which I left the theater pondering. This show revels in the lack of certainty, unwavering bravery, and messiness many women navigate through. Stop Kiss can feel limited to its darkness and crucial messaging of the tumultuous experiences of many LGBTQ+ relationships, but Leif brings out the beauty in such darkness, reminding us that love always prevails.

 

 

 

 

 

April 20th, 8pm. Arthur Miller Theater. Images thanks to @umrudes on Instagram.

REVIEW: The Cherry Orchard

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Nothing screams “Chekhov” like a three-hour play about family drama—and The Cherry Orchard is full of it.

The Department of Theater and Drama recently wrapped up its two-week run of The Cherry Orchard, directed by Associate Professor Daniel Cantor.

The play is about a 20th-century Russian aristocratic family facing financial ruin and losing their ancestral estate, including its titular cherry orchard. Matriarch Luibóv Ranyévska and her brother Leoníd Gáyev own the estate from their youth and have fond memories of the property. Ranyévska has two children, the free-spirited Ánya and the careful Várya. Two neighborly businessmen (Borís Semyónov-Pishik and Yermolái Lopákhin) are attempting to convince the family to cut down their beloved cherry orchard for land to maintain the finances to keep their estate. The family does not take to their counsel, tumbling into the inevitable fate of the property. The play explores the turn-of-the-century social and economic transitions in the waning aristocratic era of Russia within a little family out in the country.

The original 1903 book was written in Russian by Anton Chekhov (Вишнёвый сад), so the production was performed from an English translation. I’m not sure I was particularly fond of the translation—at times, the dialogue felt watered down from the complexity and nuance I know from Chekhov’s careful character-building.

An air of nostalgia cut through the direction quite masterfully. I felt sentimental with Ms. Ranyévska and her brother Mr. Gáyev, the estate’s owners, however, the predictable fate of the home and relationships between the family and businessmen were not as intriguing to me. I craved more of a ping-pong-like drama between the businessmen and the family, leaving the plot a little flat. The drama perhaps could have gotten lost because of the aforementioned translation or the length of the nearly three-hour endeavor to arrive at the fate of their beloved estate.

The movement and musical aspects of this play caught my attention significantly. Music & Live Sound Coordination (perhaps arranged or written?) was by Hayden Steiner and Raymond Ocasio. There was a small band that performed on-stage with the actors. I loved the soundscape and chosen instrumentation for the show—some solo moments, such as a clarinet to represent youth, and a single violin for perhaps a more sentimental yearning for the past.  There were larger arrangements, for example during Ms.Ranyévska’s party held at the estate with the band in all-white clown costumes (not sure what this was referencing, if anything). Choreography and movement was handled by Drey’von Simmons, a first-year musical theater student. I thought the movement created interesting stage pictures and was thoughtfully placed in the show.

Though I struggled with the lack of motivation in the plot, the performances by the actors were overwhelmingly good. Luibóv Ranyévska was played by a stunning Kaylin Gines alongside her brother Leoníd Gáyev as Jaylen Steudle. These two captivated my attention constantly—they deeply embodied the lack of acceptance from their declining fortunes and especially from Gines, an inability to embrace change. They playfully managed their character’s see-sawing emotions from euphoria to deep anguish. I equally enjoyed the disheveled butler, Firs (Sam Hopkins). Firs is an elderly servant who represents the fading aristocratic era, and while devoted to the family, is left behind at the end, tragically forgotten in the chaos of the family’s departure. Hopkins (an apparent college student) nailed the physicality of someone three to four times his age—physically and vocally. I enjoyed his sentimental presence, and I thought a profound way to end the play with his death in the empty house.

 

 

April 13th, 8pm. Arthur Miller Theater. Images thanks to @umichtheatre on Instagram.

REVIEW: A Little Night Music

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[Title photo: Cole Newburg (left) and Audrey Graves.]

Of all the entangled romantic comedies in musical theater, A Little Night Music is quite the knot. The Department of Musical Theater completes its 2023-2024 season with Stephen Sondheim and Hugh Wheeler’s musical-operetta surrounding a horny mess of bourgeoisie adults at the turn of the century in Sweden. But it gets better—accompanied is a full orchestra with the most waltz-worthy melodies that string you right along with this troupe’s ridiculous antics.

The plot is quite dense. Desirée Armfeldt (Carly Meyer) is a fading actress touring small theaters across the country. She has a young daughter, Fredrika (Mariangeli Collado), who lives with her grandmother, Madam Armfeldt (Kate Louissaint), in the country. Desirée continuously delays seeing her daughter, preferring her life on tour in the theater. On the other side of town, Fredrik (Cole Newburg) and Anne Egerman (Audrey Graves), the newly married couple (with a quite significant age gap) live with Henrik (Michael Fabisch), the teenage son of Fredrik. He is a seminary student, frustrated and often ignored and mocked by the family with contentious feelings for his stepmother, Anne. One evening, Anne and Fredrick go to the theater, where Anne learns of Fredrik’s romantic history with the leading actress, Desirée. The two share an evening together, until interrupted by Desirée’s current affair, Count Carl-Magnus Malcolm (Owen Scales). Thus begins a spiral of jealousy and scandal when Desirée invites both couples Count Malcolm and Countess Charlotte (Gabriella Palminteri) and Anne, Fredrik, and Henrik to her mother’s home in the country.

This production was directed by Telly Leung, a graduate of the University of Michigan Musical Theater Department and an active Broadway performer. Direction choices were thorough and aesthetic for a venue that can leave you uninspired. The choice of an electric lime-green floor often took me away from the glamour of these characters’ lives and exceptional music and performances, but thankfully was recovered by costume design right out of an Edwardian-type 1900s Sweden.

The orchestration of the show is near perfect. A full orchestra accompanied the performance tonight at the Power Center, one of the finest pit orchestras I have heard at this University to date (musical direction by the fabulous Catherine A. Walker). A glimmering orchestra underneath some of the most brilliant voices at the University was a perfect end to the semester.  With leading women Carly Meyer and Audrey Graves, there was not a single pedestrian vocal moment. Their attention to virtuosic vocalism as well as navigating Sondheim’s cheeky text was a thrill. Angeleia Ordoñez (Petra) performed one of my favorite pieces of all time—”The Miller’s Son”, a satisfying and sweet song from the audacious maid, Petra. She performed with utmost perfection, providing the most insight into the character of Petra throughout the whole show. The Quintet (expanded to ten for this production), enriched the musical score, serving as an ironic reflection of the two couples’ extravagant lifestyles. A personal favorite performance was Fabisch, accessing spot-on character physicality, brilliantly luscious vocals, and honest comedy—Henrik has never been so adored before.

A weekend in the country with this outstanding cast would be my pleasure, anytime at all.

[Mariangeli Collado (left), Carly Meyer, and Kate Louissaint]

 

April 19th, 2024, 8pm. Power Center for the Performing Arts. Images thanks to The University of Michigan Department of Musical Theater.

REVIEW: Falsettos

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[Title photo: Sam O’Neill (left), Caleb McArthur and James Parascandola.]

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, (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 tense family dynamics were masterfully cultivated by director Naomi Parr and navigated equally as masterfully by this intense and thoughtful cast. Patterson (the needy, Trina) has one of the most captivating voices in the show—she does not shy away from the luxurious lines in the score while capturing Trina’s true angst and frustration with the imprudent men in her life. Her dynamic alongside the charming and perfectly awkward Mendel (Guthartz) was sublime. O’Neill and McArthur navigate perhaps the most complicated relationship dynamic in the show, one loaded with lust and devotion, sprinkled with violence and need for acceptance. The nuance the two brought to this unbelievably deep relationship was remarkable. Whizzer and Marvin’s poignant love maneuvered through each twist and turn, even past the heartbreaking finale—an arduous task beautifully achieved. Underneath these two intricate relationships leaves Jason (Parascandola), who left to pick up the pieces (literally and physically). Parascandola’s playful exchange with youth and hope left me rooting for Jason, wondering where his little life will take him next. It’s plain to see how this cast ripped my heart out and left it in the 1970s with them.

The cast of “Falsettos” and director Naomi Parr.

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.

REVIEW: Wall to Wall Theater Festival

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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.

Juliet Schlefer singing Rachmaninoff’s 6 Romances.

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.

REVIEW: Will Liverman and Karen Slack at Stamps Auditorium

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April 7th, 2pm.

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!