Category: Music

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: 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: 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.

Cafe Rhema Supports Upcoming Flint Musicians

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FLINT, Mich. (Art Seen) – Study sessions, coffee dates, and free wifi. All of the things that may come to mind when thinking of a traditional cafe. Although the essence of Cafe Rhema embodies all of the above, it’s also a business that takes pride in spotlighting local musicians.

Artists from a multitude of genres have played on the stages of the cafe. Yes, stages, there are two! Set at the entrance of Rhema stands the Bar Side stage, where first-time performers are given the opportunity to display their talents through open mics and solo sets when they’re ready. In the back of the cafe sits a larger stage granted to musicians with a little more experience.

Joshua Spencer, owner of Cafe Rhema, explains the process of supporting new musicians.

“Just giving local artists a chance to have a platform to perform in front of a crowd. Maybe they’re a beginner and they want to be at our open mic, if they’ve gotten a little bit of credentials or experience under their plate then they can go onto one of our stages. But the idea is to take an artist and progress them. Give them an opportunity to get progressed from a small stage to our main stage and then have opportunities to go on from there.”

Back in the Rhema Lounge, you can find a low-lit, intimate atmosphere perfect for a night out in the city. But if you’re looking for a chill spot to relax during the day, you can sit up front, enjoy some music, and sip on a hot, creamy cup of coffee! The cafe also has a selection of cold refreshments such as soft drinks, smoothies, and bubble teas.

And if you’re looking for a treat to go along with your show, there’s a variety of options from savory to sweet. There stood bagels, there stood croissants, even apple pie, but for me, nothing could top the personal marshmallow show.

But of all the endless possibilities at Cafe Rhema, what stands out as their top priority?

“We want to have a place where students can come from campus, people can come from the community and actually leave entertained and having fun with also some good coffee and a full belly that they can have had just in general a great day coming to hang out downtown,” Josh shares.

You can catch free concerts on Saturdays with new artists performing every weekend.

REVIEW: Beyond The Rainbow

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April 27th | 4:00pm | Kerrytown Concert House

 

 

You’ve heard of Somewhere Over The Rainbow (or, you better have…), but do you remember any other songs from The Wizard of Oz? 

Paul Keller and Cary Kocher present: Beyond The Rainbow, a celebration of the classic 1939 MGM film and Miss Judy Garland’s musical legacy. A band of five was all that could fit on the intimate Kerrytown Concert House (KTCH) stage: Paul Keller (bass), Cary Kocher (vibraphone/vocals), Sarah D’Angelo (clarinet/vocals), Adam Mosley (piano), and Ralph Tope (guitar).

Keller returns to the stage with his signature quirky repour and undeniably devoted and unshakable musicality. A self-described “Michigan jazz hero”, Keller has been a staple of the Detroit jazz scene as a sideman, composer, and educator. He also leads the 27-year-old Paul Keller Orchestra at Zal Gaz Grotto every Monday evening. This quaint Sunday afternoon brought a small but mighty audience you might be able to count on both hands, but dedicated listeners nonetheless.

The band started with the titular number, the undeniable anthem of the film, “Over The Rainbow”. D’Angelo sang; her sunny demeanor and sensitive phrasing were not a mock-up of Ms. Garland’s, it was her own. Keller subsequently made a thoughtful dedication to the legacy of Harold Arlen, the composer of The Wizard of Oz’s musical selections.

Down the Yellow Brick Road they went, performing the “Witch Song” (unsure of its proper title) and “Ding-Dong! The Witch is Dead”. “The Lollipop Guild” and “Follow The Yellow Brick Road” respectively ensued as a hypothetical Dorothy continued on her journey. Mosely and Tope made a fine rhythm section, taking short solos throughout the show.

Lest they forget the Lion and Tin Man, of which Cary Kocher sang “If I Only Had A Brain” and “If I Were King of The Forest”. Kocher’s voice is as smooth as his vibraphone playing, accompanying his subtle charm. Keller next included a song cut from the Wizard of Oz, entitled “Jitterbug.”A vibrant tune, one of the first written for the film, but was ultimately removed to shorten the final run time.

“Ease on Down the Road” from The Wiz and the ever-relevant Defying Gravity made unexpected appearances later in the set. I wondered how D’Angelo’s gentle vocal approach would change with the Schwartz—and to my surprise, her signature silky phrasing transcended into a belt that soared through the room.

The Judy Garland classics “I Don’t Care” and “Easter Parade” served as proper tributes to the heroine from D’Angelo. I was surprised that Garland’s atrocious experience working on The Wizard of Oz was not mentioned, an unfortunate reality of young women working in 1940s Hollywood. The film is an indisputably influential piece of American media. As a reflection of national ideals, its themes of individualism, self-reliance, and the pursuit of dreams are constant. The first of many devastating experiences for Garland, the film perhaps also represents how we mask the harsh realities of what it took to get there.

 

 

 

Image thanks to Kerrytown Concert House.

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.