Category: Arts

REVIEW: For the Love of (Or, the Roller Derby Play)

Maeve Ricks Leave a comment

As I settled into my seat at the Arthur Miller Theatre, little did I know that I was about to be whisked away into the adrenaline-pumping world of roller derby, a world I had never explored before. Enter the Rude Mechanicals and their electrifying production of For the Love of (or, the Roller Derby Play), which proved to be a dazzling spectacle that captivated from start to finish.

The Rude Mechanicals team assembled a seamless fusion of sets, costumes, hair, and lighting, each working harmoniously to transport this newbie into the vibrant, gritty world of roller derby. The dazzling costumes and imaginative set design were like characters themselves, imbued with the essence of the sport and its audacious players. 

And then there was the derby choreography, wow! The energetic sequences dazzled with their exhilarating pace, brilliantly captured the sport’s chaos and thrill while presumably being far safer than the real thing. The cast flew around the stage with infectious energy and precision, making the audience feel as if we’d dropped into a match on the fast track. 

Before the show, audience members were given team flags, stirring up competitive spirit and encouraging us to root for our favorite characters, which is a thrilling addition. This electrified the atmosphere, resulting in a lively yet respectful crowd. Imagine an audience fully engaged, mouths agape, eyes wide, and hearts pounding, not because of a stray Instagram scroll, but because the performance demanded it. 

However, every fierce jam (that’s a roller derby term I learned) has its slip-up, and here, the plot’s initial momentum veers off course. The script begins as a captivating ensemble piece, weaving the members’ stories like a taut team flag. Yet, it falters towards the end of act one, turning towards a singular storyline with a sapphic love triangle. This divulgence from the derby isn’t necessarily bad because sapphic love isn’t relevant to the story, but it dilutes the broader message of empowerment and unity within roller derby, which is what the story initially offers as you get to know the characters in the first act.

Despite this narrative detour, the cast delivered stellar performances. The actresses portraying Lizzie Lightning, Sophia Santos Ufkes, and Andrea the Vagiant, Sarah Josephina Hartmus, stood out, their portrayals embodying fierce athleticism and vulnerable emotion that provided nuanced reflections of the roller derby spirit, and their complicated characters. 

For the Love of (or, the Roller Derby Play) invited me into the intense, enthralling world of roller derby with Rude Mechanicals at the helm—definitely a production to be experienced. While I left with a major issue with the script, the overall excellence of the production remains undeniable. No matter the jam, in the rink, you’ll find your way through.

REVIEW: Disney’s Snow White

Sappy Leave a comment

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

Sappy Leave a comment

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: A Minecraft Movie

Maeve Ricks Leave a comment

WARNING: SPOILERS AHEAD.

“CHICKEN JOCKEY!!!!!” A family with young children screams behind me. Filled with joy and elation, they celebrate the iconic moments of A Minecraft Movie starring Jack Black and Jason Momoa. When a mysterious portal pulls four misfits into the cubic world of Minecraft, they’ll soon discover that all they’ve imagined can come true with the help of a pickaxe, a crafting table, and a man named Steve.

Now, let’s be very clear: A Minecraft Movie isn’t great. It’s not even good. It’s bad… very bad. It’s so bad, you can’t stop watching. In fact, it’s so bad that I want to go back to my local Ann Arbor Cinemark and pay to see it again. And seeing movies nowadays is expensive! A Minecraft Movie may be a bad movie, but it’s a movie worth paying $20 dollars and then some to see.

I’d argue that it may be the new Rocky Horror Picture Show, or at least it should be. Every spring, gamers should come together to scream out signature movie phrases, dress up, and throw popcorn at the screen. If Rocky Horror fans can throw toast at the screen once a year, let the minecrafters do the same. (Don’t twist my words and be a jerk though while it’s still in theatres this season.)

The movie doesn’t have a lot of bad elements. It’s actually well-constructed, and incredibly designed, but, unfortunately, there are a few glaring issues that take all the attention away from the good things happening in this movie. (1) The ridiculous plot lines; the worst one that comes to mind is when a Minecraft villager enters the human realm and falls in love with Jennifer Coolidge. It’s a type of relationship that feels like it should be illegal, but then again, it’s fiction; thank goodness. (2) The female characters are poorly written. If A Minecraft Movie passes the Bechdel test, it does so on a technicality. The screenwriting team consists of 5 men, and it shows. The most prominent female characters, Natalie and Dawn, serve only to support Henry, the young boy who is the movie’s catalyst. It’s unfortunate because Minecraft has such a diverse player base, with over 40% of those players identifying as women. I wonder how the movie would be rated if it had taken the time to invest in a more complex, diverse cast of characters that better aligns with the diverse players who actually play the game. 

Still, there’s a lot to love about this movie: the random songs that come in at unexpected times (thank you, Jack Black), the playful, cubic animations, the deep-cut game references, and odes to the people that built Minecraft’s platform (for example Technoblade’s memoriam, and using Minecraft YouTubers as extras). It’s a great movie to see with your friends. You’ll laugh; you’ll cry; you might even pee your pants; or you might accidentally fall asleep like I did. No matter, it will always be a bad movie, and you’ll always have fun watching it.

So, purchase your overpriced and oversalted popcorn, slather it in butter, and eat alongside Jack Black as he makes his infamous lava chicken because he sure isn’t making a cake.

REVIEW: Titanic: The Musical

Maeve Ricks Leave a comment

Titanic: The Musical is a grand undertaking, promising an epic retelling of the historic disaster. And yet, this production found itself navigating turbulent waters and ultimately struggled to stay afloat. While the intent was ambitious, the execution left something to be desired, particularly in its lack of directorial boldness and inventive staging.

As the familiar story unfolded, one hoped to feel the looming dread and gravity of the sinking ship. Instead, the staging remained disappointingly static, failing to capture the urgency and chaos that the storyline demands. Titanic’s narrative should be a rising tide of tension and emotion, and yet it floundered around in shallow waters. A more dynamic approach to the physical space and movement could have transformed the experience into something truly riveting.

Another unfortunate iceberg in the path was the book itself, drowning under the weight of too many characters. The ensemble cast, while talented, had to fight for precious narrative space, leaving audiences adrift, unable to form meaningful connections or investment in their fates. With a plethora of characters vying for attention, the emotional impact of their plight was diluted, resulting in boredom and a noticeable uptick in glowing screens among the audience.

Sound mixing woes further muddled the waters. The orchestra’s impressive performance was marred by inadequate balance, often overwhelming the vocals. This left many lines and lyrics indecipherable, which is an ironic twist considering the music direction by Tyler Driskell managed to harness the beauty of the score so magnificently. Though the ensemble’s voices were heavenly, our ability to understand their words was sunk all the way down to Davy Jones’ locker.

Despite the muddled aspects, standout performances helped keep the ship from sinking entirely. Landon Wouters as Captain Smith, Nile Andah as Harold Bride, and Jason Mulay Koch as Frederick Barrett delivered compelling portrayals. Andah’s and Koch’s telegraph scene in act one, rich with tension and harmony, was a bright spot in the production and everyone’s phones were put away to witness.

While this titanic production (literally and metaphorically) struggled against its own dramaturgical and directorial currents, there were many shining moments for student performers. This production may have sank, but the performers managed to get on a lifeboat and survive. Hopefully, we will witness their talents navigating clearer waters in the future.

REVIEW: Sense & Sensibility: A New Musical

Sappy Leave a comment

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.