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REVIEW: Mufasa: The Lion King

January 6, 2025January 6, 2025 Sappy Leave a comment

Despite the many negative reviews surrounding the musical drama film Mufasa: The Lion King, I actually really enjoyed it. The storyline acts as both a prequel and a sequel to the original animated The Lion King. While it’s not life-changing or particularly essential, it’s a fun film that adds to the world-building of the original in an endearing way. Perhaps it’s because I had low expectations and didn’t know exactly what to expect, but I found the online reviews overly harsh for a movie primarily directed toward children.

The plot begins with the lion cub Kiara, Simba’s daughter, who is frightened by a large thunderstorm. She doubts her capabilities and expresses that she could never be brave like her grandfather, Mufasa. In response, Rafiki, an elderly and wise mandrill, tells her a story to encourage her. He recounts how Mufasa was at her age and how he grew up to become the great king we saw in The Lion King. Mufasa, who we originally see as proud, confident, and courageous, is depicted as more vulnerable and dispirited in his youth. He struggles to believe in himself or accept praise, which seems hard to believe given his personality in his adult form. Through the animals Mufasa encounters on his journey, the film explores themes of family, belonging, and love. His journey proves his worthiness as king and highlights the qualities that make him a true leader. The plot is a coming-of-age story, fitting for its intended audience. This aspect resonated with me, and I believe many children would connect with it too.

The narration is engaging, with the story progressing at a good pace. However, while Mufasa’s character development is well-paced, the development of other characters either lacks depth or, particularly toward the end, feels rushed. As the movie reaches its climax, the character arcs become hurried, especially in the conclusion, which makes their actions seem almost out of character. One factor that held the character development back was the CGI animation. While the visuals were strikingly realistic and beautiful, the realism made it harder for characters to express themselves facially or display more creative body language. It also became difficult to differentiate the lions, as they generally shared the same appearance aside from slight changes and their voices. While these details may stick out more to adults, younger children may not notice them as much, meaning a cartoon version might have appealed to a wider audience.

This placed a greater emphasis on the voice acting and music, which I think the film did well. The instrumental soundtrack was a great homage to the original, with many elements inspired by or directly recreated from it. I also appreciated that there was often music playing in the background. In addition to the bright sunshine and natural scenery, this contributed to the triumphant and joyful emotions in the film. However, one disappointing aspect was the singing, which I felt could have been of higher quality, as it could have been another opportunity to express the character’s personality.

I think the film’s weaknesses largely stem from the characters not feeling as relatable. However, most of the movie’s strengths lie in its overarching messages and foreshadowing of events that occur in the original. I think it would be a great film for young children to understand self-growth, confidence, and friendship. Though it may be an unpopular opinion, I don’t think it is a waste of time or detracts from the original The Lion King in any way, unlike other prequels and sequels I’ve seen. I would still recommend it to people of all ages, but it’s important to approach it with an open mind.

REVIEW: Wicked

January 6, 2025January 6, 2025 Sappy Leave a comment

After several disappointing movie-musical adaptations in recent years, I was skeptical that Wicked would be any different. As the first musical I had ever seen, and on Broadway in New York no less, I had especially high expectations. However, I was pleasantly surprised to discover that the hype surrounding the movie was justified. Under the guidance of director Jon M. Chu, with a talented main cast including Ariana Grande (Glinda), Cynthia Erivo (Elphaba), and Jonathan Bailey (Fiyero), Wicked offered a refreshing take with a charm that still retained the essence of the Broadway play that sparked my love for musical theatre.

Based on Gregory Maguire’s novel Wicked, the story is a prequel to The Wizard of Oz. The main character, Elphaba, grows up experiencing hardships due to her unusual green skin. Ostracized by even her own family, she is nonetheless loved by her nanny. Because of this, she grows up with a pure heart. When she sends her younger sister to Shiz University, Elphaba catches the eye of Madame Morrible, played by Michelle Yeoh. Morrible is a famous magical history professor and the object of admiration for Glinda, a beautiful and popular girl who has lived a life essentially the opposite of Elphaba’s. As the story progresses, it explores the complex relationship between the two women. Their character development is one of the highlights of the story, touching on themes of friendship, values, purpose, and societal expectations. Grande and Erivo’s chemistry, both on and off screen, brought this relationship to life brilliantly.

Despite both the musical and the movie running for roughly three hours, the movie only covers half of the original story. I did feel that the pacing dragged at times, with the plot progressing slowly—almost frustratingly so. However, this slower pace gave more creative freedom to the director and actors. Compared to the stage production, Elphaba and Glinda felt more alive in this version. Their characters were more developed and complex, which created a deeper connection with the audience. I particularly enjoyed Glinda’s nuanced portrayal, whereas in the play, she seemed more ditzy and one-dimensional.

Though I find live singing and dancing more impactful, the movie was still incredibly immersive. The film’s close-up shots of the characters, their costumes, and facial expressions added a level of intimacy that the stage production can’t match. The lighting and camera angles also contributed to a richer atmosphere. The movie was visually striking and the vivid colors truly brought the fantasy world of Oz to life. These added details allowed for more foreshadowing, extensive world-building, and deeper character development. It never felt like a simple recording of the play.

A friend of mine, who is more versed in musical theatre techniques, also offered some insightful commentary on how film is a unique medium. On stage, only those sitting in the front row get to see the actors’ faces clearly, and even then, it’s impossible to catch all the small details. It’s difficult to compare movies and theatre because they offer different experiences and strengths. Perhaps that’s why I remain skeptical about many movie-musical adaptations retaining a high quality—they’re often unfairly compared to the original. Nevertheless, Wicked is proof that a great musical-movie adaptation is possible.

REVIEW: Berliner Philharmoniker

January 3, 2025January 3, 2025 Sappy Leave a comment

Photos are provided by Peter Smith Photography

After delivering a phenomenal concert on November 23, the Berliner Philharmoniker returned the next afternoon for one final, brilliant performance featuring the Bruckner Symphony No. 5 in B-Flat Major. In contrast to the dreamy ambiance of the previous program, on November 24, the Bruckner Symphony highlighted another dimension of the artistry of the Berliner Philharmoniker: their impeccable technique and coordination.

All genres of music use Major and/or minor keys. Music written in a Major key tends to be upbeat and joyful, making the Bruckner Fifth Symphony more solemn than I expected. Unlike his other symphonies, the first movement began with a slow, peaceful introduction. It featured pizzicato—the plucking of strings—from the basses before turning into sudden, powerful chords from the whole ensemble. This exchange of conflicting textures and dynamics continued until the end, developing a complexity that was initially difficult to grasp. Bruckner was often inspired to compose by his strong religious faith, a possible explanation to why I found it challenging to digest because I am neither religious nor familiar with cathedral music.

Because of the next movement, however, I gained a better understanding of the piece. Building upon the thematic and artistic foundation set by the first movement, the slower adagio tempo of the second allowed me to engage more with the music. The pizzicato passages, which demand impeccable synchronization between each musician, added a light and fun texture that peeked out of the rest of the ensemble. Meanwhile, the quick and repetitive sixteenth notes from the violins added a ticklish quality. They played at the perfect volume to support the winds and decorate their melodic lines. The wind and string parts twirled together toward the climax, which was my favorite part of the second movement when the brass blared the repeating theme while the strings played ascending scales.

The third movement introduced a faster, more energetic tempo, continuing the symphony’s dance-like quality. This lively beat carried into the finale, where everything came together. The finale brought back themes from the first movement. Other phrases developed over the second and third movements felt much more tangible before intertwining with a new motif. With every musician pouring their heart and soul into their part, the interweaving melodies, harmonies, and textures built up to a triumphant conclusion. The ending embodied the brightness of the Major key, creating a lasting impression.

It was hard to imagine how the Berliner Philharmoniker could match the previous night’s performance, yet they succeeded by showcasing a completely different facet of their skills. What sets the Berliner Philharmoniker apart is their ability to convey a message to the listener, whether it’s the composer’s vision, the conductor’s interpretation, or something unique to the audience. Their playing forms a narrative, making the music feel alive, and I can’t wait for the chance to see them perform again in the future. After experiencing this weekend of concerts, I’ve realized that classical music is something that must be lived and breathed in person to fully appreciate its beauty. It was an honor to witness one of the world’s leading orchestras in their 12th and 13th appearances at Hill Auditorium.

REVIEW: Berliner Philharmoniker with Benjamin Beilman, Violin

January 3, 2025January 3, 2025 Sappy Leave a comment

Photos are provided by Peter Smith Photography

On November 23, Hill Auditorium was brimming with excited classical music lovers, and even President Santa Ono was in the audience. It was finally the night of the much-anticipated concert that had sold out months in advance. Under the baton of Kirill Petrenko, the Berlin Philharmoniker, alongside soloist Benjamin Beilman, delivered a masterful performance of Rachmaninoff’s The Isle of the Dead, Korngold’s Violin Concerto in D Major, and Dvořák’s Seventh Symphony.

Rachmaninoff’s The Isle of the Dead is a symphonic poem inspired by Arnold Böcklin’s painting Die Toteninsel. Böcklin intended his painting to evoke dreams, a quality that Rachmaninoff’s composition certainly achieved. The orchestra’s interpretation captured the audience’s attention with its heavy emotion and power. The dynamics ringing throughout the auditorium felt like crashing waves, while the layered harmonies added a sense of delicate chaos. However, when I looked up the painting, I found that the energetic, determined melodies of The Isle of the Dead largely clashed with the somber mood and muted colors of Böcklin’s work. Later, I discovered that Rachmaninoff had been inspired by a black-and-white reproduction of the painting, which allowed him greater creative freedom.

Next was Korngold’s Violin Concerto in D Major, my favorite—and I dare to assume, many people’s favorite—part of the night. Fascinatingly, Benjamin Beilman grew up in Ann Arbor and attended Community High School. He won first place at the Montreal International Music Competition in 2010, received the Avery Fisher Career Grant in 2012, has played with many major orchestras worldwide, and is one of the youngest artists ever appointed to the faculty of the Curtis Institute of Music.

When I attend concerts, I often find myself amazed by a soloist’s technique, but this time I was in awe of how much fun Beilman made playing the violin look. Rather than feeling like a performance on stage, it felt like watching a film with headphones on—which makes sense, considering Korngold was an extremely successful opera composer who also played a major role in shaping early movie scores. At times, the softer passages in the music painted serene fields of flowers; at others, Beilman’s tone felt tangible, as if I were sipping rich, melted chocolate.

The second movement, “Romanze,” was particularly moving. The opening, with its gentle and tender chords from the winds in the background complemented by the dreamy violin melody, perfectly captured the sound of falling in love—exciting and mesmerizing. Meanwhile, the closing melody, built from odd intervals, reflected the more complex side of love—confusing yet irresistibly tantalizing.

The final piece, Dvořák’s Symphony No. 7, brought me back to Earth with its tumultuous and unexpected notes. The themes in this symphony didn’t paint vivid landscapes like those in The Isle of the Dead, but each phrase unfolded as if it were a page in a storybook. It was a piece that required a commanding and charismatic conductor to maintain its passionate energy—keeping it controlled yet never subdued—and to harness its power to blend the unexpected turns in the music into lyrical phrases. The third movement, “Scherzo,” was vivacious, its rhythm inspired by the Czech folk dance furiant.

By the end of the night, the Berliner Philharmoniker had established itself as my favorite orchestra. After delivering an enchanting, surreal, and healing performance that would convert even the worst classical music skeptic, the audience went wild—I can’t remember the last time I heard more wholehearted applause. Not to be overdramatic, but Benjamin Beilman’s performance of the Korngold Violin Concerto reminded me of how important classical music is to humanity. Combined with the Berliner Philharmoniker’s mastery, It was a night I will never forget, and I felt extremely lucky to have that experience.

REVIEW: John Proctor Is the Villain

January 1, 2025January 1, 2025 Sappy Leave a comment

Photos are provided by Peter Smith Photography

On the night of November 21st, my friend and I walked out of the Lydia Mendelssohn Theatre in a passionate discussion about the SMTD performance of John Proctor Is the Villain, a comedy-drama written by Kimberly Belflower. Going in, I was intrigued by the play’s premise and curious about how it would intertwine the themes of The Crucible—a play written by U-M grad Arthur Miller—with contemporary issues.

John Proctor Is the Villain takes place at Helen County High, the only high school in a small town in Georgia. Set in 2018, when the #MeToo movement on social media gained attention, the story follows a group of high school juniors during their spring semester (coincidentally, I was also a junior in high school then). Most scenes occur in the classroom of Carter Smith, a young, charismatic, and popular teacher. Although Mr. Smith’s class is small, his students embody the archetypes of nerdy, sporty, chic, and emo characters you would expect to find in a larger high school. As Mr. Smith and his students read The Crucible, they begin to discuss John Proctor, who, despite being an adulterer, enjoys a good reputation and is praised as a hero. At the same time, a group of girls formed a club to explore what feminism exactly means and how to be a feminist.

Though it starts lightheartedly, this production dives headfirst into heavy themes, including racist and sexist language, depictions of violence, and abusive relationships. At its core, the play is a commentary on sexual assault, highlighting how it remains a pervasive issue that is too often dismissed or ignored. As the plot thickens, the shifting dynamics reveal the profound disparities and emotional toll that sexual assault takes on both victims and those connected to them. The play explores a range of complex emotions—confusion, disbelief, embarrassment, anger, sadness, and more—all of which feel raw and deeply human. As I watched from the audience, the character development prompted me to reflect on my past relationships, experiences, and vulnerabilities.

The actors’ accurate portrayals of these complexities made the performance even more impactful and thought-provoking. Their depiction of messy teenage friendships—fraught with reluctance and miscommunication—felt incredibly realistic. Through desperate and hesitant tones in their voices and insecure body language, they authentically captured the essence of adolescence. Student actor Hugh Finnigan embodied Mr. Smith’s charismatic persona so convincingly that, from the beginning, I gravitated toward his character. His confidence and mannerisms fondly reminded me of my favorite high school teachers.

The production’s minimal set design—consisting solely of school desks and a blackboard—underscored the idea that no environment, no matter how safe or familiar it seems, is immune to the threat of sexual assault and harassment. The costumes and makeup reflected each character’s stereotypical personality, but by the end of the play, teach us not to judge a book by its cover. Finally, the dance-break transitions between scenes became a powerful visual metaphor for resilience, symbolizing the characters’ capacity to reclaim power and persevere.

John Proctor Is the Villain delivered a surreal and eye-opening experience, culminating in an ending that felt chilling, uplifting, shocking, and awe-inspiring all at once. Moments that initially seemed surface-level gained significant weight as the characters displayed profound growth and emotional depth. By analyzing their behavior, reactions, and capacity for trust, the play sheds light on how people navigate societal pressures and personal challenges.

As my friend and I left the theatre, we found ourselves discussing how societal norms shape the assumptions we make about people in our everyday lives and how dangerous these assumptions can be in perpetuating harmful power structures. This production left an indelible impression, and I would highly recommend it to anyone seeking a thoughtful and emotionally resonant theatrical experience.

REVIEW: Hänsel und Gretel

January 1, 2025January 1, 2025 Sappy Leave a comment

Photos are provided by Peter Smith Photography

From November 14th – 17th, students from SMTD’s Department of Voice & Opera presented Hänsel und Gretel, a whimsical and comical opera inspired by the Brothers Grimm fairy tale. On opening night, I walked in expecting a darker, more traditional retelling. Having recently read the original story for my English class, the haunting imagery and fast-paced plot were fresh in my mind. What I witnessed instead was a playful and modern reinterpretation that completely reimagined the tale I thought I knew.

The opera began with Hansel and Gretel doing chores at home while horsing around. At this point, there was no dialogue; instead, the introduction was driven entirely by the music, with decorative trills and glissandos setting the tone. This lack of narration effectively established the scene, suggesting their actions were simply part of their daily routine. What stood out to me was the siblings’ dynamic, which differed from the original story. In this version, Gretel had more depth and independence. For instance, she had some attitude, and the two siblings squabbled early on. By the end, their tumultuous relationship evolved into a partnership where they worked together to overcome their struggles, making their character arcs feel more rewarding.

I was truly amazed by the quality of the music, particularly Hansel and Gretel’s vocals. Their voices projected clearly, and their vibrato and dynamics added a compelling layer to the storytelling. The pit orchestra, which was noticeably larger than those in musicals I’ve seen, played a pivotal role. Their synchronization with the actors heightened the emotional impact of the scenes, particularly in the introduction, and their technical consistency throughout the two-hour performance was impressive.

The set designs were among my favorite aspects of the production, particularly in Act II and Act III, when the visuals became increasingly surreal. The TVs hanging around the stage were a quirky and creative touch that enhanced the eerie atmosphere of the woods and the chaotic energy of the Witch’s house. By displaying images like green mist and blinding lights, they played a crucial role in establishing the mood of each scene. The Witch’s house, made entirely of brightly branded cereal boxes, was both unexpected and amusing, providing a modern twist on the traditional gingerbread aesthetic.

The Witch was undoubtedly my favorite character. From the moment she appeared on stage, I was completely captivated by her eccentric and flamboyant costume. It was a riot of bright colors and peculiar accessories—such as eating utensils—and cleverly mirrored her chaotic personality and desire to consume the children. Her absurd and unpredictable presence made her scenes incredibly fun to watch, and I found myself smiling throughout. The audience shared my feelings, as frequent laughter echoed during her antics.

Overall, this was an enjoyable performance. The chaotic and playful nature of the plot kept me engaged, especially when the production deviated from the original tale in surprising ways. The opera felt like a magical adventure that breathed new life into a familiar fairy tale. However, since the entire performance was sung in German, I often had to look away from the stage to read the subtitles, which detracted slightly from my experience but didn’t overshadow the production’s many strengths. I highly recommend this production to anyone who enjoys fairy tales and is open to seeing them reimagined in unexpected and creative ways.