REVIEW: Sunday in the Park with George

Friday night, I had the privilege of seeing “Sunday in the Park with George” as performed by the Musical Theatre Department here at the School of Music, Theatre, & Dance. The premise of the show is the story of Georges Seurat, the creator of the famed painting “A Sunday Afternoon on the Island of La Grande Jatte”. He struggles with success and criticism of his work in his time period, never having sold a painting during his lifetime. He has difficulties balancing work and his relationships with others and ends up losing his mistress and model, Dot, to another. George is an interesting character in a lot of ways. His concentration to his art and failure at succeeding at much else for one thing is quite perplexing and the attention to detail in his work is astonishing. The show mentioned also that it took him two years to finish the painting “A Sunday Afternoon on the Island of La Grande Jatte”. I thought the musical did a lot to represent accurately Seurat’s work habits and advanced concentration to his work.

The show was definitely a success, the actors and actresses, singing, and dancing was entirely up to par, as anticipated. Some standouts from the show include the actress performing the role of Dot. Her voice was absolutely phenomenal and she totally reminded me of Bernadette Peters, who played the role while it was on Broadway. The lead, George, was so good at mimicking a crazed artist, affixed in both his paintings and his work. He flitted around the stage, particularly in the scene “The State of the Artist,” where he hovered between appearing interested in potential investors and posing for photographs. It was a whirlwind of a scene and it played to his strong points.

The middle of the show, in all honesty, was sort of a snore. The three hour-long performance droned on and I felt bored with the nitty-gritty of the plot while the songs seemed to me rather dull. The first act was definitely better than the second, but it still wasn’t entrancing. I truly believe, however, that this was due entirely to the writers of the show and not the men and women of the Musical Theatre department. I think the show isn’t Sondheim’s best, but it is such a cool concept, basing the entire plot and musical numbers on a single painting and its artist – it’s worth portraying. I think with a few more crowd-pleasing numbers and less dialogue-heavy scenes, it would have worked better.

All was restored for me, including the immensely boring middle parts, when that final song “Sunday” was performed at the ends of both acts. It’s such a beautiful song and the melodies seem to flow directly from the heart. It has the usual Sondheim ring to it, finishing with a bang and a grand flourish of the arm. I loved it. And when the musical ended and the backdrop went white, Dot leaves the stage while George’s final word coincides with the emotions of the audience: Harmony.

I don’t believe I would recommend the show to a friend if it were inconvenient for them to see it; although, if it was right in your backyard with an amazing cast, I wouldn’t say no to a ticket. Glad I saw it, but glad it’s over. Can’t wait for what show they put on next.

REVIEW: Aspen Santa Fe Ballet

ASPEN SANTA FE BALLET

Last weekend, the Aspen Santa Fe performed at the Power Center. It was a rainy Sunday and I spent the morning eating brunch at a hole-in-the-wall cake shop on the Old West Side called Jefferson Market and then watching the matinée performance. The indulgent outing felt  both classic and obsolete: When was the last time I, a.) attended a ballet or b.) went to a matinée that was preceded by brunch on the town? My only justification was that going to the performance was required for my ballet class. But I am very glad that it was because the dance itself was truly a spectacle.

The show was visually stunning, incredibly professional, tightly rehearsed, and impressively physical. The presentation was a breath taking combination of artistry and athleticism that I have rarely seen. The costumes revealed a great deal of skin and muscle on both males and females that really made me wonder how many crunches they all do per day. Half the drama of the show was simply the chiseled appearance of their abs and buns. I’m serious.

The piece was comprised of three acts; Square None (2012), Stamping Ground (1983), and Over Glow (2011). Each act differed from the next in its score, its choreography, its costumes design, and its lighting scheme, but it was clear that they were intended to be a part of a unified, coherent performance.

The first piece used grey lighting and darker musical tones while the second used no music and bright lighting. The first two appeared to make commentary on modern culture: the first was structured around bionic, wind-up-doll-like gestures. The second was very animalistic and primitive, using the body as a drum to make rhythms rather than electronic sound. (The second piece was by far my favorite; it was the most animated, relatable, and story-like whereas the other were more theoretical and abstruse). The last piece was the prettiest, with pastel colors and graceful lifts, leaps, and pirouettes. It was lovely to watch, but was my least favorite act because it felt sort of flat in comparison to the creativity in the previous two.

One thing I have not mentioned yet is the fact that this kind of ballet is not like Swan Lake or The Nutcracker. It’s not classical ballet, its neo-classical; its contemporary. It uses the same structure and techniques as ballet (straight legs, delicate fingers, turned out feet) but also incorporates movement that more resembles modern dance. Contemporary ballet allows for a greater breadth of movement and does not adhere as strictly to the lines set forth by the original forms of classic ballet. In many ways, especially after seeing Aspen Santa Fe’s performance, I find myself drawn to this genre. It is still both pretty and recognizable, but also fluid, creative, and unusual.

Sunday brunch and a matinée at the Power Center is one of the easiest assignments I’ve ever been given. Oh, and one last fun fact about the costume design from Square None was that it was designed by Project Runway celebrity contestant Austin Scarlett. Who knew.

REVIEW: Kidd Pivot – Tempest Replica

REVIEW: Kidd Pivot – The Tempest Replica

This first UMS show kicked the season off with a bang. Kidd Pivot’s production, “Tempest Replica,” was one of the most beautiful performances I’ve ever seen. Robotic-like movements contrasted flowing gestures, moments existed where the characters appeared to roll across the stage, bouncing so quickly from lying down to standing up to lying down…etc. It was astounding. The staging of the performance was definitely the most impressive of any dance company I’d ever seen. They had a giant white screen that floated as a back drop to the play, upon which they were able to project words, quotations from the text, and act and scene numbers. Not only was it helpful, but it also created a blank slate before which the action of the play proceeded. It was incredible clever and oftentimes the screen would waver about, causing a sort of ripple effect which only served to make it look even cooler.
I think everyone would agree that the shipwreck scene at the beginning was the most impressive moment of the play, staging wise. The play began with a man folding paper-boats on stage, from the moment you entered the auditorium, he was hard at work. He passes one boat to the spirit Ariel, and demands “Shipwreck!” She hesitates, and then shoves the boat in her mouth as a crash sent shivers through the audience. Suddenly, the white, billowy curtain falls and an image of rain is projected in one corner while a man writhes below. Flashes of lightening light the stage, and behind the translucent curtain are three men dressed completely in white, white masks covering their faces, roll from one edge of the stage to another. I truly felt as if the entire stage were pitching and rocking about in the sea. It was immensely impressive.

I haven’t read the Tempest, but I was able to follow the storyline for the most part. It seemed to me that it was a story of creator vs. creation, in the same avenue of Frankenstein, honestly. Many of the characters were posed and prompted by Prospero, this god-like man who could create creatures out of thin air by magic. Many of his creatures either tried to kill him, run away, or both. One of the final scenes had me a little lost because it showed three white-masked figures following the steps of Prospero, and I thought it symbolized the whole repetitive cycle of this man’s life: creates, wishes to destroy, beings too powerful, creature in control, he creates his own creation…etc. Or it could have been a way for the narrator to look back upon the events of his life, retrospectively wishing for a different life. It was thought-provoking and the dance was beautiful, but I was a little lost.
That brings me to another point: timeline. Granted, I haven’t read the book, but I was completely confused as to where in time we were left during Act V. Entire scenes seemed to repeat themselves and suddenly we were off this alleged “island” where Prospero and his daughter were vanished and into the real world with doorbells, dinner parties and the like. It was bizarre! At least on the Island I could suspend disbelief of the events that sequenced, but smushed up against the real world, I was lost in what remained reality and what was solely absurd.

Cyrstal Pite who created this piece is to be hailed for such a successful performance. The choreography, staging, and actors were so well-aligned; it was a seamless production and a beautiful show. I would gladly see another show by Kidd Pivot, and am super excited to read the Tempest in one of my classes later this year to fill in the plot gaps. Tremendous and awe-inspiring, I’m glad I attended.

PREVIEW: Kidd Pivot – Tempest Replica

“All things in common nature should produce / Without sweat or endeavor” (Shakespeare, Tempest, 2.1)

This weekend, Kidd Pivott will be in town performing their interpretation of the Tempest as set to modern dance. Their dance company is based in Vancouver since 2002. Under the artistic direction of Crystal Pite, this performance is sure to blow you away. A tale of revenge, redemption, and passion, the stormy spectacle is definitely worth your time. Ballet Tanz says, “Pite’s as energetic as a sparkler and fluid as quicksilver.” Although this “common nature” definitely involved some “sweat” and “endeavor” it is a performance not to be missed.

Kidd Pivot, Tempest Replica will perform at Power Center on the evenings of this Friday and Saturday (9/21-22). Tickets still available!

PREVIEW: F.O.K.U.S Vanguards

F.O.K.U.S Vanguards

If you are strolling through the Diag this Saturday, April 14th, you will see something like a circus taking place. A velcro wall, a bicycling, skateboarding, and bedazzling stations, throwback food, live music, live artwork, and, of course, lots of dancing. The student group F.O.K.U.S (Fight Obstacles Knowing Ultimate Success) is holding its 8th Annual Vanguards Event. Music by Maimounna Yousef and other fabulous performers will be sounding from the Diag from noon to 5pm, so be sure to walk by and add a little flavor to your Saturday. I attended last year and had a celebratory time being creative and collaborating with other students who were excited about creativity and social justice through the arts.

F.O.K.U.S. strives to create and foster a diverse community by using the arts as a common medium.
We encourages artists, art enthusiasts, and other communities to work together and expand their comfort zones
through arts-related events and dialogues; we provide inspiration for artists to follow their dreams,
for perspective artists to attempt an art and for audiences to enjoy it all through our productions. F.O.K.U.S. events
attract artists and audiences from all walks of life as we see this inclusive nature as the only way to truly grow and
develop as a community. Since 2003, F.O.K.U.S. has been creating exciting spaces for people to explore themselves
and widen their appreciation for the arts.

art is…what unites us.

For more information, check out their website and Facebook event. See you there!

Photos from last year’s Vanguards




PREVIEW: Intersections at the Rabbit Hole

Intersections at the Rabbit Hole

The U of M Department of Dance and Rackham Graduate School present a unique, contemporary dance performance called Intersections at the Rabbit Hole. This work stands as Tracy Halloran Pearson’s final thesis in her study of the field of choreography. As a Master’s in Fine Arts candidate, and-not to mention-my ballet teacher, this show is bound to be a creative exposition of talent and hard work. The show will be held at a venue in downtown Detroit. This will be the first time a Master’s candidate from the Department of Dance will have their thesis performance off campus.

About the representations explored in the piece, the press release says:

“Intersections At The Rabbit Hole draws on themes from the classic children’s book Alice’s Adventures in Wonderland. It creates a world that explores female identity formation by investigating the personal experiences of the Choreographer and her six dancers. The performance focuses on themes of childhood memories, sibling relationships, the growing confidence as one passes from adolescents to adulthood, and the impact of unique personal experiences on artistic identity.”

Tracy Halloran Pearson has been preparing this particular work since last July. She first conducted research in New York City, then returned to Ann Arbor where she held an audition at the start of the school year for undergraduates in the department. The pieces within this work are either a solo or a duets inspired by the specific personalities of the dancers who perform them. The creative process is an expression of the way in which fellow dancers influence the choreographer’s personal experience of movement. The black box theater in which the show is performed is “The Rabbit Hole;” the interaction among the artists is the “Intersection.”

Intersections At The Rabbit Hole draws on themes from the classic children’s
book Alice’s Adventures in Wonderland. It creates a world that explores female
identity formation by investigating the personal experiences of the Choreographer-
suggest you use your name and her six dancers. The performance focuses on themes
of childhood memories, sibling relationships, the growing confidence as one passes
from adolescents to adulthood, and the impact of unique personal experiences on
artistic identity. This will be the first time a Master’s candidate from the
Department of Dance will have their thesis performance off campus and in the city
of Detroit.

Saturday, March 17

6 pm and 8:30 pm

1515 Broadway, in Detroit

$10 adults, $5 students

(The theater is quite small; to book tickets in advance contact Tracy Pearson at tehallor@umich.edu)