Category: Arts

REVIEW: Seong-Jin Cho, Piano

Sappy 2 Comments

Photos are provided by Peter Smith Photography

On February 7th at Hill Auditorium, pianist Seong-Jin Cho delivered a phenomenal performance of the complete solo piano works of Maurice Ravel. The concert lasted three hours, yet Cho memorized and played every piece with unwavering precision and passion. Funnily enough, before the concert began, an audience member behind me exclaimed that even a one-hour program of Ravel would be too long; I’d bet money they changed their mind by the end of the night.

Cho’s global reputation skyrocketed after winning First Prize at the 2015 Chopin International Competition in Warsaw. Since then, he has performed with the Berlin Philharmoniker, where Cho is currently the artist in residence, as well as the London Symphony Orchestra, Boston Symphony Orchestra, and more. 

At Hill, Cho’s ability to breathe life into the piano showed why he’s so sought after. He merged with the instrument in body and soul. Even when the music consisted of a single repeating note, it was beautiful and each tone rang with a pure, bell-like clarity. No matter how fast the glissando flew by, you could still hear each note sing. The lyrical lines blended seamlessly, yet I could distinguish which hand played which dynamics, melodies, and harmonies—even with my eyes closed. Cho never once seemed to lose focus or stamina.

The first piece, Sérénade grotesque, had a delicate, elusive character that made its theme hard to pinpoint. Menuet antique felt more tangible. Pavane pour une infante défunte evoked a giddy feeling of raindrops and fairy footsteps from melodic flurries and vast glissandos. Cho then moved into the peaceful Jeux d’eau and ended the first section of the night with the Sonatine, whose three movements featured harp-like textures.

 

 

After intermission, Cho resumed with Miroirs, whose five movements flowed so smoothly it felt like a single movement. In Gaspard de la nuit, I was struck by the soft yet clean notes—something I’ve always found difficult to bring out on the piano. 

Following the second break, Menuet sur le nom d’Haydn became one of the night’s highlights. It immediately captured my heart with chords that built into a dreamy atmosphere. Valses nobles et sentimentales brought me back to reality with dancing energy, especially in the Presque lent – dans un sentiment intime movement, which glittered. The followingPrélude carried a bittersweet emotion, while À la manière de Borodine surprised me with a melody that made me imagine horses frolicking. Similarly, À la manière de Chabrier resembled cheerful skipping. 

The final piece, Le Tombeau de Couperin, offered the most variety. Its six movements formed an emotional arc—sprightly, meek, brash, romantic—culminating in the last movement Toccata. Vif. That movement was especiallydemanding, ebbing and flowing between repeated notes, lush lines, and anxious descents that Cho played with awe-inspiring control. 

I’m glad this performance introduced me to the beauty of Ravel’s piano works. Cho’s ability to freely shape dynamics made him the perfect soloist to perform Ravel’s dreamy musicality. It had been a long time since I attended a solo piano recital, so this performance showed me how a soloist can express more subtle and endearing musical expressions even without the grandeur of an orchestra.

 

REVIEW: Mickey 17

Madi Hammond Leave a comment

Science fiction meets satire in an explosive way in “Mickey 17” — but there is simultaneously too much and not enough of either.

Set in 2054, main character Mickey Barnes (Robert Pattinson, “The Batman”) signs up to be an Expendable on the newest space colony expedition to Niflheim after receiving death threats from a loan shark following a failed macaron business venture with his best friend, Timo (Steven Yuen, “Beef”). However, he soon realizes that not reading the paperwork thoroughly was a mistake. As an Expendable, Mickey is sent to do the most dangerous jobs and used as a human guinea pig for the research team onboard. Every time he dies, his memory is simply reuploaded into a newly reprinted version of his body. Meanwhile, failed politician Kenneth Marshall (Mark Ruffalo, “The Avengers”) commands the future colony full of his red-hat-wearing fans with a camera crew in tow, undeserved bravado, and promises of one day reproducing to make a “pure race.”

Once they reach the famed planet, however, native creatures they name “creepers” become a barrier to breaking ground. During an exploratory mission, Mickey miraculously survives a terrible fall. But by the time he makes it back to the ship, another Mickey has already been reprinted; and with “multiples” strictly forbidden under penalty of death, the angrier Mickey 18 and a milder Mickey 17 must keep their existence under wraps.

“Mickey 17” is director Bong Joon Ho’s most recent project after his award-winning film “Parasite.” Bong’s newest film is an amalgamation of genres: satire, horror, science fiction, and comedy, with a few touchingly romantic moments. From start to finish, the film is defined by absurdism. Mickey’s failed business, which was based around misunderstanding that “macarons are the new hamburgers,” sets the tone for a protagonist who has stumbled into something far beyond his understanding.

Ruffalo’s character, while officially inspired by an amalgamation of different tyrannical rulers, reads (at least to the audience at the showing I attended) as a parody of Donald Trump. His reality show-style governance, blonde wife, and red-hat-wearing followers make the connection undeniable. While this satire is amusing at first, its relentless intensity becomes exhausting over the two-hour runtime, growing more repetitive than revelatory.

Pattinson, on the other hand, carries the film with an engaging performance that oscillates between bewildered desperation and deadpan humor. His portrayal of both Mickey 17 and Mickey 18 gives each iteration of his character a distinct edge, subtly differentiating their personalities with their motivations, mannerisms, and even accents. However, the film never quite allows him to fully explore the psychological implications of multiplicity, treating the idea of splitting consciousness as more of a plot device than a deep thematic concern.

Despite its many strengths, “Mickey 17” ultimately feels unfocused. Is it a commentary on environmental protectionism? A philosophical exploration into the implications of dividing consciousness? Or an elaborate vessel for scathing critique of right-wing politics? It might be all of these things, but none stand out as the film’s central thesis.

The concept of the Expendables had the potential to be something profound, but instead, the film brushes past it in a brief flashback explanation about why reprinting technology is only allowed on Earth. This missed opportunity leaves “Mickey 17” feeling like a film bursting with ideas yet unwilling to fully commit to any of them. While entertaining, it leaves the audience wondering: What was the ultimate point?

REVIEW: Michigan Youth Mariachi Festival 2025

Andrew Teel Leave a comment

“Viva Mexico!” Sombreros raise high in the cool stage air as a large community of passionate individuals come together to celebrate the history and culture of Mexico through the art of music and dance.

Not many people are familiar with the art of Mariachi and Folklórico dance, so it was an inviting experience to have such talented youth in our college community of UM-Flint. Mariachi is a style of music and dance deeply embedded in Mexican culture. Traditional Mariachi includes instruments many are familiar with, such as the guitar, violin, and trumpet. Also included are native lesser known instruments such as the Guitarron (a six string acoustic bass with a deep body) as well as the vihuela (a small five string guitar). Mariachi also heavily uses the voice both for singing as well as a certain vocal technique known as  El Grito. El Grito is a traditional combination of a cry and a laugh that passionately represents the Independence of Mexico and past civic celebrations. The singing style felt very rustic and crafted with love. It gave a sense of uplift in me, a sense of pride for what I had and what to celebrate. This cultural showcase concert was organized and led by El Ballet Folklórico Estudiantil, a leading music program based in Flint, Michigan.

The early afternoon concert was filled with students of many backgrounds coming together to celebrate Mexican tradition. What I really enjoyed about this concert was the vast inclusion of levels of experience. The concert opened with the instructors of the program, followed by student ensembles such as the Mariachi Knights, Mariachi los Tigres, Mariachi Alebrijes, and the Beginning Mariachi. Not only as a concert attendee but also as an assistant volunteer, I was shocked and amazed to know that the last few songs of the program were learned over only two days. This goes to show how strong the education program is, and as well it shows the dedication and strength of the musicians to come together and work as one over something completely new. Groups from Flint to Detroit displayed to me wonderful tunes that had me clapping along in my seat.

Mariachi music is often based on melodies from folk songs from other regions in Mexico. As an audience member I can recount several melodic lines that I had previously come across in early piano study course books, many of which also take from universal folk songs. One of the songs on the program featured a classical vocal work, Por Ti, Volaré by Andrea Bocelli.  The Mariachi sound mixed with a new context of a classical vocals, created a beautiful rendition of the work. The ensemble of trumpet, violin, and voice led by Brandon Sexton, produced a performance that elicited resounding applause from the audience.

One of the lead Instructors, Gino Rivera, guided the group from the morning rehearsal right up to the concert’s opening note. What Gino Rivera loves about teaching mariachi to young students is seeing the progress, growth, and confidence in people. He noted that many people of Mexican background my feel alone or even ashamed of their ancestry, but being in Mariachi allows them to find their identity outside of the house and truly thrive. Exposing culture to a more public eye strengthens the beliefs and passions of those looking to grow. Music transverses all cultures, and is a great way to express the history of many.

Sue Quintanilla, Founder and Director of El Ballet Folklórico Estudiantil hopes to grow and strengthen the community. Anyone Interesting in joining the program can visit the website, ebfedance.org for more information. I hope to see more from the group in the future and I am so glad I was able to indulge in this beautiful cultural experience.

(Photography credited to Nathan Cross, ncrossmusic@gmail.com)

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.