Author: Sappy

Hi everybody~ I'm a senior majoring in creative writing and minoring in Sweetland Writing. I like reading, playing musical instruments, and video games! Most of my reviews will be about the performing arts because I'm interested in dance, classical music, and theater. Thank you for checking out my profile and I hope you enjoy my reviews <3

REVIEW: Disney’s Snow White

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In this 2025 live adaptation of Disney’s 1937 film Snow White, Rachel Zegler plays the part of Princess Snow White, a young woman who is mistreated by her evil stepmother, known as the Evil Queen. The Evil Queen is jealous of Snow White for her beauty and kind heart, and thus sends her outside the castle to be killed. However, Snow White escapes and goes on an adventure in which she meets seven dwarves and a group of thieves led by a young man named Jonathan, and eventually confronts the Queen herself.

One aspect that I admired about this film was Rachel Zegler’s musical performance. The emotion she puts into performing is captivating, as one can clearly tell she puts her heart and soul into singing to really bring Snow White’s character to life. Gal Gadot also does a good job portraying the evil queen. Her subtle facial expressions and movements really convince the audience of the queen’s evil nature.

Although this film had many endearing parts such as the cute forest animals that Snow White befriends and the characteristic catchy Disney songs, there were some aspects of the film that I thought were lacking. The overall pacing of the movie felt very inconsistent. Some scenes were drawn out and felt almost boring, while others felt choppy and rushed. There were some key moments that felt a lack of buildup in emotional intensity, leading to abrupt scene changes. However, this could be due to the director wanting to market the movie towards more younger audiences, and so they may have decided to cut out any scenes that would be too intense. I enjoyed how there were a couple instances in which the Seven Dwarves made jokes more catered to adults but were innocent enough that it could be included in a children’s movie.

I also noticed that the costumes on both Snow White and the Evil Queen were noticeably tacky and looked out of place from the film. They looked similar to the Halloween Costumes found in retail stores for children to wear. However, I realize that this is not that important to the overall plot of the film, and is just something that I noticed.

The film kept to the original in some parts but strayed from the original in others. For example, the seven dwarves and their iconic personalities were kept in, as well as the Evil Queen’s magic mirror and poison apple. However, they added the young thief Jonathan and his group of bandits as a replacement for Prince Charming. I thought that made a lot of sense to do because in the original, Prince Charming does not have much of a role in the film.

Although Snow White (2025) was not a tear-jerking, awe-inspiring film, it also was not terrible. The two main actresses did a phenomenal job and the movie still kept its feeling of having Disney magic. However, the film lacked a more deep and thoughtful plot and had an inconsistent flow to it, and so would likely be more enjoyed by young children and their families for a light-hearted movie night.



REVIEW: The Wild Robot

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Directed by Chris Sanders (best known for How to Train Your Dragon), The Wild Robot stands out for its gorgeous animation, rich worldbuilding, and a touching yet humorous storyline. It’s no surprise that Forbes ranked The Wild Robot among the top 10 best-reviewed computer-animated films of all time. While it isn’t packed with action or major plot twists, its heartfelt, compelling narrative draws the audience deeply into its world.

The Wild Robot is an animated adaptation of Peter Brown’s novel. The story takes place on an island untouched by human life, yet thriving with animals and lush vegetation. The protagonist, Roz, is a service robot who crash-lands on the island after a shipwreck. Though the island’s animal inhabitants fear her, Roz’s programming makes her endlessly kind and selfless. Soon, Roz discovers and cares for an orphaned gosling, which marks the beginning of her emotional development that sheds her of her robotic nature.

I was surprised that this film was only 1 hour and 42 minutes long because the pacing felt natural and never rushed. That said, I personally found the opening a bit jarring. The film begins in a violently chaotic, almost overwhelming way that makes it hard to settle into the story right away. In retrospect, I understand why the filmmakers chose this approach—it fully showcases Roz’s sudden and disoriented arrival—but at the same time, it felt slightly off-putting. Thankfully, once the film found its rhythm, I became fully immersed. I grew incredibly attached to the characters and was deeply moved by their evolving relationships. In the latter half, I even found myself tearing up several times.

My favorite voice performance came from Pedro Pascal, who voiced Fink the fox. I was surprised to learn this was his first animated voice role—he sounded incredibly natural and perfectly captured the sly, sarcastic charm often associated with foxes. In fact, his portrayal reminded me of Nick Wilde, the clever trickster fox from Zootopia. Meanwhile, Kit Connor gave Brightbill, the gosling, a wonderfully youthful charm that embodied the innocence and curiosity of a child. Lupita Nyong’o’s performance as Roz became particularly powerful toward the end. As Roz’s emotional intelligence deepened, so did the rich texture of Nyong’o’s voice, further strengthening the robot’s compelling emotional arc. 

Overall, I would give The Wild Robot a solid 9/10. The only reason it doesn’t earn a perfect score is the rocky beginning, which personally made it a bit difficult to get into at first. Still, this is a touching and worthwhile film. It’s perfect for anyone looking to unwind from the stresses of daily life and enjoy a story rooted in nature, empathy, and personal growth.While its emotional depth resonates with adults, its clear storytelling and themes of kindness make it equally appealing for children.

REVIEW: Sense & Sensibility: A New Musical

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From early to mid-March, under the direction of Matt Bogart, The Encore Musical Theatre put on a beautiful production of Paul Gordon’s Sense & Sensibility: A New Musical. The set design was grand and elaborate, making full use of the theater’s space. The costumes featured intricate details that reflected the period’s distinctive clothing, and the acting and soulful singing contributed to an immersive atmosphere. 

Based on the romance novel by Jane Austen, the plot takes place around 1792-1797 and follows two sisters, Elinor andMarianne Dashwood, played by Chelsea Packard and Jessica Grové. After the sudden death of their father, the women of the Dashwood family are forced to leave their home due to inheritance laws and relocate to a more modest property in the country. The sisters grew anxious about their marriage prospects, as women at the time heavily relied on marriage to secure their future. As they struggle to balance romantic desires with practical concerns, the story unfolds with messy relationships and complex emotions.

Because a musical and a novel are different genres, the musical’s pacing was faster, more direct, and exaggerated. While it lacks Austen’s iconic narrative prose, the show boasts an impressive amount of musical numbers with nineteen songs in the first act and twenty-one in the second that all showcase the characters’ personalities and emotional depth more vividly than the novel. As a result, characters with smaller roles in the book were able to have a bigger part in the musical. 

The first musical number that stood out to me was “Lydia,” sung by Colonel Brandon, largely due to the powerful voice of director and actor Matt Bogart, who is also a professor at SMTD. Bogart’s tone and vibrato enhanced the romantic desperation his character conveyed. My favorite songs from Act I, however, were the last three numbers: “Lavender Drops (Reprise),” “Hello,” and “Somewhere in Silence.” “Lavender Drops” and “Somewhere in Silence” were duets between Elinor and Marianne; their voices complimented each other beautifully, reinforcing their sisterly bond for the audience. In contrast, “Hello” is sung by Elinor and her love interest Edward Ferrars (played by Adam Woolsey), which offered insight into their relationship through its thoughtful lyrics. In Act II, I especially loved the humorous lyrics of “Wrong Side of Five and Thirty” sung by Colonel Brandon, which gave his otherwise serious character a more personable and vulnerable side.

Overall, although the tickets were a bit pricey and the commute to the theater was longer than preferred, the high production quality made it well worth it. I enjoyed being able to see a professor perform because I had only seen students perform previously. I’ve always been awed by the students at SMTD, and Bogart’s talent and skill demonstrated how great professors can foster great students. While this wasn’t my favorite musical narratively or musically, it was still a lot of fun to watch.



REVIEW: The Dark Knight

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Director Christopher Nolan truly outdid himself with his gripping film, “The Dark Knight.” This action-packed movie takes place in Gotham City, where despite the system of law and order, various mobs are running the city and causing havoc. Batman helps to keep crime at bay with the help of Gotham City Police Department’s Lieutenant Jim Gordon and District Attorney Harvey Dent. However, things take a turn when the Joker disrupts the crime scene, causing chaos for both the law-abiding citizens and the criminals of Gotham City. 

I really enjoyed this movie as it was not the typical hero vs. villain action movie that is so common in the movie industry, in which the characters are all either good or bad. Instead, this movie dives deep into the complex emotions of humans and how many will make ‘unethical’ choices depending on what is at stake for them. When successful and morally righteous characters who have always followed the rules have to deal with a traumatic loss, they may end up making cruel choices, but to them these choices are what is ‘fair’. The movie is riddled with scenes in which characters must make a choice, but both choices are cruel and cause suffering to someone/some people, causing the person making these decisions to really think about which choice is the most morally correct. This movie makes you think hard about what is really considered ‘fair’ when making difficult decisions, how nothing is completely black or white.

I thought that the character of the Joker was very well developed, as the Joker is portrayed as different from the usual criminals of Gotham City that are in it for the money. Heath Ledger did an amazing job portraying the Joker as someone that was truly misunderstood by society, causing him to rebel against people that are rule followers. His facial expressions and abrupt mood changes portray a disturbing depiction of an antagonist misunderstood and mistreated by mainstream society. The Joker tries to convince characters that are seen as ‘good’ that they are actually similar to him, and he is constantly trying to push people over the edge to going against the rules and following chaos instead, arguing that ‘chaos is fair.’ 

Aaron Eckhard, who played Harvey Dent, did a marvelous job portraying his character who went through one of the harshest changes I’ve seen throughout the movie (both physically and mentally), and it was interesting to see how he developed as a character. Christian Bale, who played Batman, also captures the essence of how a superhero fits into the rules of society, and whether that makes them a true hero or a vigilante.

Overall, this emotional rollercoaster of a movie with its several twists and turns, paired with intense action shots and thrilling fight scenes kept me gripping my seat in anticipation throughout its entirety. The actors did an amazing job bringing to life the characters that many know from its comics, which really helped to make the viewer feel like they were a part of the adventure. I feel as though this film would be enjoyed by both long time DC comic fans as well as anyone looking for a thrilling action movie with iconic characters.



REVIEW: Titanic: The Musical

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Photos are provided by Peter Smith Photography

From April 17-20 at the Power Center for the Performing Arts, the School of Music, Theatre & Dance gave a hauntingly beautiful performance of Titanic: The Musical. Alongside Twelfth Night, which was performed earlier in the school year, this production was among my favorite shows of the year and served as a powerful conclusion to the 2024-2025 SMTD season. Everything from the dancing, singing, and acting under the direction of André Garner was exceptionally impressive and truly highlighted the tragedy of the Titanic through compelling storytelling.

Though the movie and musical premiered at similar times, the plot of the musical has no connection to the film. Instead, the stage production is based on a book by Peter Stone, with music and lyrics composed by Maury Yeston. Unlike the movie, which focuses on just a few protagonists, the musical captures the story of an entire ensemble of characters, each with unique personalities and socioeconomic backgrounds. The show does an amazing job showcasing the different passengers’ dreams and motivations for boarding the ship. One aspect of the plot I loved was that, despite their differences, many characters share a common thread: a deep love or devotion for another person. This made me feel more connected to the characters and intensified the emotional weight of the story.

There’s so much to praise about this production—the set design consisted of dark metal frames that created an industrial aesthetic contrasting sharply with the grandeur described by the passengers. I also appreciated the thoughtful use of accents, including British, Irish, and American, which reinforced the historical context and helped clarify class distinctions for the audience. 

The key characters that stood out to me were Thomas Andrews, the ship’s builder; Captain Edward J. Smith, a veteran captain who planned for the Titanic to be his final voyage; J. Bruce Ismay, the wealthy villain behind the tragedy; Isidor and Ida Straus, an elderly couple whose loyalty and enduring romance were unforgettable; and Frederick Barrett, a poor yet charismatic worker in the boiler room.

What stood out to me about Andrews (played by Sutton Kaylor), Captain Smith (played by Landon Wouters), and Ismay (played by Drew Perez Harris) was how their character dynamics were shaped by class and power struggles, and how the tension between just these three characters became the driving force behind the tragedy. Their interactions emphasized how the ambition and greed of a few individuals in power can lead to negligence and disaster. This is most powerfully captured in the number “The Blame,” which musically illustrates their anger, helplessness, and unwillingness to take responsibility.

In contrast, what moved me most about Isidor and Ida Straus was how their love transcended the panic and despair of the situation. Their duet in Act II, “Still,” beautifully expressed their unwavering commitment to one another and served as a powerful symbol of selflessness and hope in the face of death.

The number with the most striking choreography was “Barrett’s Song,” in which Barrett (played by Jason Mulay Koch) sings about a letter to his beloved, whom he left behind to work aboard the ship. The staging of this number featured the boiler room workers performing a physically demanding dance, incorporating flips, extended ballet spins, and synchronized movements that mirrored the intensity and labor of their environment. It was both graceful and raw, and it heightened my excitement for the rest of the musical numbers.

However, what left the deepest impression on me was the final number in Act II, “Finale.” In this solemn closing, the survivors deliver spoken lines that recount real historical facts about the Titanic—including the dreadful imagery of victims’ bodies found among the icebergs and their screams echoing in the darkness, details I never could have imagined. The blend of emotional narration and chilling facts made the conclusion both gut-wrenching and unforgettable, leaving me with a heavy heart as I exited the Power Center.

Overall, this heart-wrenching story and visually stunning production was genuinely awe-inspiring. I will always remember the bittersweet beauty of this musical—its fantastic choreography, breathtaking vocals, and vivid retelling of one of the most infamous tragedies in history. It’s a story that highlights both the devastating consequences of human pride and the enduring power of love, making it an emotionally complex and unforgettable theatrical experience.

Review: The Music of Studio Ghibli

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Photos are provided by the Ann Arbor Symphony Orchestra

On Saturday, March 15, and Sunday, March 16, the Ann Arbor Symphony Orchestra gave their highly anticipated performance of The Music of Studio Ghibli under guest conductor Wilburn Lin at the Michigan Theater. The program consisted of music all composed by Joe Hisaishi, including the Symphony Variation: Merry-Go-Round/Cave of Mind (from Howl’s Moving Castle, 2004), Orchestra Stories: My Neighbor Totoro (1988), Kiki’s Delivery Service, and Spirited Away. 

Howl’s Moving Castle is one of my favorite Ghibli films, so I was delighted that its music opened the night. Because Merry-Go-Round of Life is an incredibly iconic piece and so well-known, I was a bit afraid that the performance would deviate from the original score or lack the same musical satisfaction. However, the orchestra’s rendition was beautiful. The canonic melody seamlessly weaved between the different string and wind instruments, and I particularly liked the pizzicato variations from the strings. My only complaint is that it could’ve gone longer, though I might be biased because I love the piece so much. Though the next part of the variation, Cave of Mind, is a piece I don’t often listen to, I got goosebumps because the brass solo makes it a hauntingly beautiful piece, and I could vividly recall the exact scene where this soundtrack is played during the concert.

The performance of Orchestra Stories: My Neighbor Totoro was interesting because the orchestra decided to add Japanese narration, spoken by Momo Kajiwara, to further enhance the storytelling. To be honest, I don’t love this movie because I don’t find the plot to be that engaging, but this addition made me see the film in a different light. The narration was splitinto eight different sections that summarize the movie’s plot with an English translation provided in the program, and it helped paint the innocent and mystical atmosphere of the movie for those who were unfamiliar with it. Furthermore, I love Totoro as a character, so I found it endearing that there was also someone dressed as Totoro to take pictures with.

The next feature was Kiki’s Delivery Service. I was taken aback by how short the piece was (or maybe I just found it so enjoyable that I got lost in time). Nevertheless, the performance of Kiki’s Delivery Service stood out to me among the rest of the program because of the concertmaster spotlight. The violin solo’s melody differs from the main theme, making it a fun addition to the piece as a whole, and the concertmaster played with a beautifully pure and clean tone.

The night then concluded with the Spirited Away Suite. Spirited Away is one of my favorite Ghibli films alongside Howl’s Moving Castle, so I was blown away by how similar the orchestra’s rendition of Spirited Away was to the original soundtrack. Furthermore, the gorgeous and somber piano melody further enhanced the quality of the music. 

Overall, I loved this concert. It was my first time getting to see the Ann Arbor Symphony Orchestra perform The Music of Studio Ghibli, and it will most definitely not be my last.