Category: Arts

REVIEW: A Year With Frog and Toad

Andrew Teel Leave a comment

Ribbits, chirps, and croaks take the stage for the spring at the University of Michigan Flint Theater. This fast paced adventure reminds audiences of all ages to take life a step at a time and slow down to smell the flowers, or in this case Toad’s fresh but slightly burnt cookies. The musical that I saw this past Sunday was one that I have been excited to attend for awhile. The Story of Frog and Toad began as a children’s book by Arnold Lobel. It is a book I remember in my childhood before I even entered middle school. From the vintage looking illustrations to the soft spoken easy digestible text. It had left me truly excited to see my childhood characters envisioned through a live production. This university production was directed by Stephanie Dean

The strongest things about the director’s vision had to be the comedy and the heavily lean in on characters traits. As a reviewer, this is the first musical I have seen in over five years. The work that goes into production often goes over my head. Actors are tasked to not only sing and dance but to act and provide stage presents that represents the source material. The pair of friends represented this to a point. On this specific performance however, one of the lead actors portraying the character Frog was out sick. (Morgan Wright) Either the actor had croaked or developed a frog in their throat is unclear, but the show went on with a new actress to play the green and jolly protagonist. Taylor Boes as Frog, and Noah Anthony as Toad tied together a tag team performance that fit like peanut butter and jelly. The character of Frog, an optimist who always say the bright side of life, always had something to say to Toad’s woes. I especially felt Noah portrayed toad astoundingly well. If I had to give a voice to the character from the book it would be something very similar to what I had seen that week. Toad’s voice always has this slight worry, always thinking of the problems in his life even though they may not be the greatest problem at the moment.  An example of this is toad worrying about burning his cookies for his friends due to the fact his clock was broken. The Dynamic between the characters set up great humor and made me realize how anxious I myself get at some very small things.

Some people feel that musicals are often slow and can be tiring at times, but the pace of this was anything but. The whole production captured a year of the friends lives. Seasons only lasted minutes and it was a true treat to see the props, lighting, and overall scenes change. Orange lights filled with autumn leaves, winter blues, and Styrofoam snow littered the set, and cool summer nights and an occasional thunderstorm heavily set the tone of each scene. From raking leaves, making cookies, sledding, and even simply sleeping can shows audiences members that they can find joy in life’s simple moments. The funniest joke had to be from a side character though. After Frog had took notice that Toad never receives mail (Another thing for Toad to lose his cool about), Frog employs a friendly snail to deliver a kind note to his house. In a toad-ally hilarious callback joke, the incredibly slow snail takes nearly the entire musical to reach Toad’s residence. Good clean humor like this accompanies the whole performance. It’s the simple comedy that gets me, it puts a innocent spin that reminds me of my childhood. Being a person who may not be the target audience of this production I found myself laughing out loud much louder than my  toddler audience members.

Another thing I must mention is the score and music. Although I would love to see a live pit ensemble one day in my university, the backing tracks of light jazz and Broadway melodies made the original scores magical. My Favorite song from this production had to be “Toad looks silly in a bathing suit” The Frog actress of this production had such a beautiful voice and I can also clearly hear Toad’s character even when he was singing. I do feel at times, the dynamic range of the actors could be greater. You can hear it in the score that the musical called for over the top Broadway level “Bring it home” style of singing. Sometimes I feel the singing was a bit more safe. This may be due to it being not only the final show but also the family show. Some things may have been altered but I feel the actors were so close to greatness but just a bit more “mmph” would have taken the musical over the top and don’t you frog-et it. Even with that note, I felt the dancing and staging were very professionally broadcasted. The old New Orleans style jazz being accompanied by having all the animals do variations of the Charleston dance fit the mood heavily. High kicking and spins revealed how much care the actor’s put into their animal, and It was lovely to be a part of it.

It was a real shame that I was unable to take photographs of the live musical due to copyright reasons. The set designs of Toad’s Mushroom house felt incredibly cozy. Being an audience member felt as if I was transformed to be the size of a mouse. For one season, Frog recounts his memory of being lost and separated from his parents. Frog comes across a large and terrible Cannibal frog. The Production then reveals a large artistic puppet that spanned over 10 feet about the ground, fit with terrifying claws and large menacing red eyes. I myself am I big fan of practical effects, so seeing this I felt the art was being honored from passed productions and it is such a nice sight to see the efforts of practical effects still being put to work to this day.

 

Overall this was a very pleasant work to both listen to and watch. The set and props were very creative and I can see clearly how much effort both actors and backstage crew worked on making an excellent performance. One last thing I noticed is what seems to be the use of generative AI artwork for the programs cover of the performance. Generative AI being the first thing patrons see before engaging in the disciplines and hard efforts of actual artists on our campus is a huge slap in the face to the art community.  I was questioning to include this detail as I can not fully confirm if the cover uses generative AI, but I know past advertising efforts on campus have used AI images to promote art performances, and no artist seems to be credited for the illustration. Not to mention minor details in the illustration that do not make sense, nor is it reflective of the book’s original illustration. It is with deep apologies if I have misreported but I felt it was concerning enough for me to mention it. I hope to see more musicals from my university, I am always excited to see more. I may even audition for one in the future.

REVIEW: 29th Annual Exhibition of Artists in Michigan Prisons

Maeve Ricks Leave a comment

In a crowded, white room, people mill about to see over 700 artworks scattered around walls, bins, and tables. What is the singular thing that connects all of these art pieces? They were created inside prison walls.

The Prison Creative Arts Project (PCAP) is an organization that aims to connect those “impacted by the justice system with the University of Michigan community for artistic collaboration, mutual learning, and growth” through classes, workshops, performances, literary reviews, and annual art exhibitions. The 29th Annual Exhibition of Artists in Michigan Prisons is PCAP’s largest endeavor hosting 772 original artworks made by 538 artists. 

“In His Eye” – William “Cowboy” Wright

The exhibit is divided into seven themes: connection, critique, natural expression, portraiture, prison as art studio, self, and what if? Each theme gives the viewer a chance to ground themselves in the chaos of the gallery. With bodies bumping into each other constantly, and hundreds of beautiful art to wrap the brain around, the space can become cacophonous. However, this chaos is the same trait that makes the gallery so wonderful: there’s something for everyone. 

One standout piece is “In His Eye” by William “Cowboy” Wright where a close up portrait of a squirrel stands tall and in awe, as the reflection of a man in a Michigan prison uniform kneels down with an acorn. This painting is humorous with the incredulous expression on the squirrel’s face; and it rings home for Ann Arbor residents who see friendly, fat squirrels so often on the university’s campus. Wright wields his paintbrush to shift the view of incarcerated men for his audience from whatever preconceived notions they had to that of the squirrel’s: giving, God-like, and beautiful. They say beauty is in the eye of the beholder, the squirrel’s in this case…

“Hold On” – Daniel Teribery

Another standout is “Hold On” by Daniel Teribery, which depicts an incarcerated man kneeling over a sunflower in a purgatory of darkness (his cell); he is surrounded by artwork and staring greyly into the flower, as a hand reaches outgrasping the cell with verve. The interesting part of the painting is the way the hand looks to both be holding up the cell and break into it at the same time. Cracks in the cell’s structure could imply that the hand is pushing in, or perhaps they represent the slow degradation of the man’s mind. If it breaks… if the hand can’t hold on, then the cell will fall further into the darkness of the background. I’m not sure exactly, but Teribery’s symbolism succeeds in opening up these important conversations on life inside prison walls. 

Beyond these pieces, the 29th Annual Exhibition features art of all genres, styles, and materials. You want to see a portrait of a clown painted in realism crying over a hot dog? It’s there. How about abstract circles crafted with oils and cardstock? That’s there too. Figurines made out of toilet paper? They make an appearance every year! Truly, if you have the time to browse through all 700-some pieces you will find at least ten that you could spend hours analyzing and admiring, and at least three pieces that you feel compelled to display in your home. (I should know– I bought four pieces myself.)

The annual exhibition is a great opportunity to purchase art no matter your budget. Work ranges in price from as little as $15 to over $1,000. It’s a great opportunity to build your collection, and support artists on the inside, as all proceeds go straight back to the artists. 

The point of the gallery, however, isn’t to empty our pockets, fill our living room walls, and to pat ourselves on the backs when we use our money for good. The point, first and foremost, is to learn from incarcerated artists about life on the inside: to see them, to hear their stories and to trust their experiences. When an incarcerated person leaves prison after serving their time, they often measure the passage of time by counting the days they’ve spent in freedom. We, me and you reading this, are people living in the free world. We have the privilege to see all 772 artworks, even the incarcerated artists whose work is on display do not have the opportunity to view work made outside of their prison’s walls. I hope you take the chance to view this exhibit and open your eyes to new perspectives. 

 

The 29th Annual Exhibition of Artists in Michigan Prisons is currently being held at the Duderstadt Gallery located in the breezeway between the Duderstadt Center and Pierpont Commons. The gallery is open for viewing now –Sunday and Monday from 12:00 PM–6:00 PM, and Tuesday through Saturday 10:00 AM–7:00 PM– until April 1st. You can also view the art online at the link here. You can continue to purchase art from the exhibition until April 1st at 5:00 PM, but hurry! These pieces sell fast.

REVIEW: Casablanca- The Movie

vprayag Leave a comment

I’ve lost count of how many times I’ve watched Casablanca, but seeing it on the big screen at Kochoff Hall on February 25th felt like experiencing it for the first time. There’s something about watching a film like this with an audience—hearing the collective sighs, the quiet laughter, the weight of its most powerful moments settling over the room. No matter how familiar I am with it, Casablanca always manages to reveal something new.

Set in the early years of World War II, Casablanca follows Rick Blaine (Humphrey Bogart), an American expatriate who runs a nightclub in Vichy-controlled Morocco. Rick projects an air of detached cynicism, famously claiming, “I stick my neck out for nobody.” But beneath his indifference lies a man who has been burned by love and betrayal—someone who once believed in causes greater than himself and has since chosen to look out only for number one. To me, Rick symbolizes pre-war America, reluctant to get involved in a fight that seemed distant, but ultimately unable to avoid the pull of history.

That pull arrives in the form of Ilsa Lund (Ingrid Bergman), the woman who once shattered Rick’s heart. She walks into his bar with her husband, Victor Laszlo (Paul Henreid), a leader in the anti-Nazi resistance. Ilsa and Rick’s reunion is filled with longing and regret, but it quickly becomes clear that her presence is about more than lost love. Victor needs exit visas to continue his fight against fascism, and Rick is the only one who can help.

Ilsa has always been one of the most fascinating characters to me. She’s not just torn between two men—she’s torn between her heart and her duty. With Rick, she found passion, but with Victor, she finds purpose. What’s remarkable about Victor is that he sees Rick and Ilsa’s connection and never lets jealousy cloud his mission. He knows that the fight against tyranny matters more than his personal feelings, and he trusts Ilsa to make the right choice. That kind of maturity is rare in love triangles, and it’s one of the reasons this story feels so timeless.

In the end, Casablanca isn’t just a love story—it’s about standing for something bigger than yourself. The film builds to one of the most famous scenes in cinema history: Rick, despite having every reason to hold onto Ilsa, chooses to help her and Victor escape. He understands that their fight is more important than his happiness. “The problems of three little people don’t amount to a hill of beans in this crazy world,” he tells her. It’s a heartbreaking moment, but it’s also the ultimate act of love—not just for Ilsa, but for a cause greater than either of them.

Watching Casablanca that night, I was reminded of why it remains one of the greatest films ever made. It’s not just about romance or war—it’s about resilience, sacrifice, and the choices that define us. And every time I hear “As Time Goes By,” I know I’ll keep coming back.

REVIEW: Gershwin Centennial Concert

Sappy Leave a comment

Though composer George Gershwin and his younger brother, lyricist and Pulitzer Prize winner Ira Gershwin, are undoubtedly celebrated as two great contributors to American music, their works were surprisingly never standardized. As a result, numerous scores and recordings of their music circulate with inconsistencies in tempos and dynamics, and some have been lost to time. To preserve the essence of his granduncles’ works, University of Michigan alumnus Todd Gershwin created the Gershwin Initiative with the School of Music, Theatre & Dance (SMTD). As part of this initiative, SMTD annually hosts a centennial performance of the two brothers’ works. This year, Sunday, January 26th, a crowd of students and locals alike flocked to the Michigan Theater to catch the performance of the music written by the brothers in 1925.

Accompanied by pianist Jacob Kerzner, SMTD students Nicholas Alexander Wilkinson II, Oliver Boomer, Aquila Sol, and Elle Michaels sang George Gershwin’s compositions from Tip-Toes (“These Charming People,” “Sweet and Low-Down,” and “That Certain Feeling”), Tell Me More (“Mr. And Mrs. Sipkin,” “Three Times a Day”), Song of the Flame (“Midnight Bells,” “Vodka”), La, La, Lucille (“It’s Great to Be in Love”), as well as songs that Ira Gershwin wrote the lyrics for in Molly Darling (When All Your Castles Come Tumbling Down”), Lady in the Dark (“My Ship”) and A Star is Born (“It’s a New World,” “The Man That Got Away”). The students sang without costumes, props, or choreographies. However, their voices alone captured the sassy and hopeless romantic attitudes of their characters. 

What I found most interesting is that many of these songs were suggestively scandalous yet painted with a lighthearted tone of voice and upbeat melodies. The song that particularly stood out to me was “Vodka.” The funny and punny lyrics were easy to understand while remaining hilariously descriptive of what vodka does to the human psyche and body and the negative consequences that often follow its consumption. 

After the intermission, the University Philharmonic Orchestra (UPO) took the stage under conductor Jayce Ogren to play Overture to Song of the Flame. Shockingly, it was likely the first public performance of the overture in decades, and there are no known recordings of the overture. The overture is relatively short and played for around ten minutes. Still, the characteristic dreamy quality of Gershwin’s talent at blending jazz and classical music makes it feel even shorter. 

However, what left the deepest impression on me that night was Tzu-Yin Huang’s performance of Gershwin’s Piano Concerto in F. Accompanied by the UPO, the first movement starts with a suspenseful yet jazzy rhythm from the blaring band instruments. Then, the pianist has dramatic, slow notes before suddenly accelerating in pitch and tempo before returning to a bittersweet, syncopated blues melody. The contrast between a lullful minor key to a more powerful, almost angry melody with a cascade of descending thirds evoked a bittersweet emotion before transitioning into a quick tempo; the orchestra then takes turns with the soloist in sharing the spotlight. The second movement starts similarly with a jazzy, brass solo, that the piano interrupts after a slow, somber intro. The mood immediately shifts with playful staccato notes and grace notes. In contrast to the first and second movements, the third movement begins agitated with notes that requires the fingers to have incredible control in speed and power. I loved the end of the third movement, which further expands an overall theme heard throughout all three movements before having a classic tremolo ending. 

Overall, it was an incredible experience. I’ll be striving to attend the Gershwin Centennial concert in the future, and highly recommend others attend too!

The Crown Experience: Celebrating Black Hair Culture

brittrob Leave a comment

SAGINAW, Mich.—The Crown Act is a law that prohibits the discrimination of hairstyles in the workplace. Today, people of all ages gathered at the Saginaw Art Museum for an event inspired by the bill celebrating black hair culture through artistic expression.

Organizers provided participants with blank canvases, colorful printouts, and bundles of hair to assemble their creations.

Braids, afros, and twists of many tints and textures filled canvas boards while strangers and friends engaged in laughter and a shared cultural experience.

Event Organizer Terra Riley shares that her friend, State Senator Sarah Anthony, who introduced The Crown Act bill, played a significant role in motivating her to create The Crown Experience.

Riley also shares her personal inspiration behind the event: ” To honor the history of our black story, our black hair story. The idea of slaves braiding rice into their hair. The idea of a braid pattern actually being a map just shows me the intellect, the deep, rich deepness of our people, and so today, I just really wanted to express that.”

Participants were also invited to contribute to the community Kente cloth, which will be displayed in the museum’s office.

While Riley encourages attendees to leave a piece of their art behind, she hopes everyone takes away something even more meaningful. “My hope is that their takeaway is the beauty and richness of who and what we are,” Riley said. “Today, I’m grateful that this space did what it was supposed to do today. People came together and celebrated the beauty of black hair.”

To continue the celebration of art and diversity, the museum is open Wednesday through Saturday.

REVIEW: Tchaikovsky Violin Concerto

Chloe Huang Leave a comment

The rising swell of the orchestra is an anticipation that never tires. The lights softly dim as the musicians come alive, humming with energy. Taking the February MainStage, Stefan Jackiw performs the much revered and demanding Tchaikovsky’s Violin Concerto alongside Music Director Earl Lee and the Ann Arbor Symphony Orchestra. 

Ann Arbor Symphony Orchestra performs for the February MainStage (Photo credits to Ann Arbor Symphony Orchestra)

The evening opens with Jessie Montgomery’s Overture and concludes with Dmitri Shostakovich’s Symphony No. 10, choices I found were extremely effective in their respective roles. Montgomery’s Overture, I thought, was a piece marked by anticipation. The whispery, shallow sounds felt like they were moving towards something, then faded off, generating an interesting tension. Shostakovich’s piece was distinctly marked by deep, dramatic tones and a frantic energy. But for sure, my highlight of the night was hearing Tchaikovsky’s Violin Concerto live. While not too familiar with classical music, this was a piece I’ve listened to time and time again. Tchaikovsky’s only violin concerto is a piece full of movement– shifting from periods of softness to an enthusiastic intensity. And it always lights up my heart to hear the moment the sounds explode, culminating in a beautifully rich melody. It somehow always feels new and captivating. I found that Jackiw’s thoughts on the piece were an interesting extension of my feelings: “It’s so fun to play; it’s so fun to listen to; it has blazing virtuosity and heart-on-your-sleeve lyricism; so I think it’s going to be a real treat to bring it to Ann Arbor.” The piece really is quite fun, and even more so when I get to watch the movements of the musicians. Jackiw played with fierce intensity, only to let it dissolve into moments of near silence, his bow grazing the violin’s strings so gently as the theater dissolved into utter silence. While incomparable to the experience of sitting in the Michigan Theater, I left the performance with a renewed desire to listen to the concerto on repeat. 

Critically acclaimed violinist Stefan Jackiw performs at the Michigan Theater (Photo credits to Ann Arbor Symphony Orchestra)

While not my first time attending a symphonic performance, this was my first time seeing a performance by the Ann Arbor Symphony Orchestra. Another notable aspect of my experience was the program pamphlets handed to every attendee. Especially as an attendee fairly unfamiliar with the classical music scene, the descriptions found in the program were especially welcome. Written by Jeremy Reynolds, there was remarkable attention given to each piece performed– from the specific instruments involved to the piece’s history to a beautiful description of the music to come. To go in with somewhat of an idea of what I’d be listening to and then to be blown away by the sound truly amplified my experience. My utmost respect is given to not only all of the performers on stage but also those off stage who make it possible for everyone to access the world of music in such an open manner.