Category: Music

REVIEW: Menopause the Musical

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Menopause the Musical is about four women who are, unsurprisingly, in menopause. They each have distinct backgrounds, such as being a housewife, a failing celebrity, a businesswoman, and a hippy. They meet at a mall while shopping and fighting over the lingerie on sale. Despite their differences, they soon after quickly bond over the changes taking place in their bodies, proving that all women can relate to one another during this difficult time in their lives.

Each of the actors perfectly embodied their characters’ personalities from the way they walked to their accents. There wasn’t a strong emphasis on dancing; instead, they focused on singing an interesting selection of music with a wide variety of genres ranging from In The Jungle, The Mighty Jungle to Y.M.C.A.

It was funny being one of the few, if not only, college students in a crowd of elderly white women. Obviously, Gen Z isn’t the target audience so I didn’t understand the references regarding menopause (e.g., memory loss and hot flashes), and didn’t resonate with the humor. However, the crowd certainly loved it and it felt like there was never a pause of laughter. In fact, I heard people talking about having watched different renditions of this same musical.

The venue was the Michigan Theater, in which I’ve only watched movies or orchestral performances. The stage was beautiful and the crew did an excellent job of making it look like a high-end shopping center. Unfortunately, the audio of the microphones wasn’t very loud or clear. The backtracks of the songs were often louder than the singers and that did take away from the experience.

To be honest, I wouldn’t watch this musical again and don’t recommend it. Although it was impressive and interesting to watch, the ticket was very expensive and wasn’t worth the cost. Still, if you’re intrigued you can give it a shot!

REVIEW: The 25th Annual Putnam County Spelling Bee

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SMTD’s performance of The 25th Annual Putnam County Spelling Bee was so good: it was immersive, hilarious, and well put together. It sounds like it’d be a wholesome musical since the main characters are children but to my surprise, it wasn’t child-friendly at all. The script made use of sexual innuendos, exaggerated stereotypes, and religious satire to crack jokes. The audience, me included, ate it up. As described on the SMTD website, it truly is a musical that “charms audiences with effortless wit and humor, making the Bee one unforgettable experience”.

One part of the experience I loved was how they included the viewers in the spelling bee and gave each of them fun and quirky personas, such as “being raised by wolves” and having “denim as their favorite color”. The actors looked so natural when interacting with the audience members that it took me a bit to realize it wasn’t staged. If the participants spelled their given word wrong, they were escorted off the stage with a juice box and were serenaded with the song Goodbye that poked fun at their failure in the bee. The funniest part was when to proceed with the plot, it became time to kick the surviving participants off the stage by challenging them with ridiculous words. Despite their efforts though, one of them actually managed to spell something incomprehensible from a Scottish dialect, shocking everyone. The actors did a great job of improvising by calling her back to the microphone and giving her another word, which this time she failed to spell. As a reward for being the last one standing though, she got her own special rendition of Goodbye sung to her. 

The characters that stood out to me the most were William Barfée, a snotty (quite literally) nerd, Logainne Schwartzy, a girl with a heart of gold, and Leaf Coneybear, who for some reason always had to spell the names of South American rodents. However, my favorite character was actually Vice Principal Douglas Panch. The actor did such a good job of portraying the classic slightly odd and suspicious adult figures I remember from my own elementary school days. Although these characters left the biggest impression on me, I genuinely loved everybody because they all had so much personality to them.

An inconvenience though is that it took place at The Encore Musical Theatre Company, a performance venue in Dexter that’s an eighteen-minute drive from central campus. Once I got there though, I realized how big of a role the stage set-up and background played in really bringing this musical to life. Most importantly when performing Pandemonium, a song and dance that really showcased the crazy and wild side of children. They were running around, jumping on tables, spinning seats, and even hanging from the basketball hoop. 

This was truly a musical I’m so lucky to have seen, and I highly recommend others to see it if given the opportunity!

REVIEW: The 7th Annual Multicultural Yardshow

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At 8:06 PM on Friday, October 27th, the Imperial Zeta Chapter of the Sigma Lambda Beta International Fraternity, Inc. hosted their 7th Annual Multicultural Yardshow in the Diag featuring eight multicultural Greek organizations:

Lambda Theta Alpha Latin Sorority, Inc.

Lambda Theta Phi Latin Fraternity, Inc.

Delta Tau Lambda Sorority, Inc.

Phi Iota Alpha Fraternity, Inc.

Kappa Phi Lambda Sorority, Inc.

Chi Upsilon Sigma National Latin Sorority, Inc.

Sigma Lambda Gamma National Sorority, Inc.

Sigma Lambda Beta International Fraternity, Inc.

I was super excited to see this year’s performance because I attended last year’s Yardshow as well. Similar to the 6th Annual Multicultural Yardshow, the crowd was enthusiastically supportive of each group and that’s what truly separates the Yardshow from other showcases. Because this event places a strong emphasis on expressing and having pride in one’s background and culture, there was a diverse selection of music. I was unfamiliar with most of the songs but that didn’t take away any of the enjoyment; I appreciated getting to explore new genres of music and sharing the experience with others. What brought the various communities together and incited the most cheers was when the groups incorporated elements of a stroll into their choreographies. 

Strolling is a dance form that was created by the National Pan-Hellenic Council (NPHC), also known as the Divine 9 (the nine historically Black fraternities and sororities who are a part of the NPHC). The Multicultural Greek organizations also practice strolls as a way to pay homage to the NPHC who paved the way for ethnic minorities to start their own Greek organizations. Movements in a stroll are meant to represent the Greek letters in their fraternity or sorority’s name; for example, sharp diagonal arms may represent the Greek letter kappa. It’s often hard to pick up on what dance moves count as part of a stroll as well as what Greek letter they signify, but one way to tell is if the audience suddenly goes wild. A key part of a stroll that’s easy to identify is when the performers start to dance synchronously in a line and circle the stage. This part is heavily influenced by African-American culture and African roots to show power and unity against racism. 

Some of the organizations practice salutes instead of strolls. Similarly, salutes are performed in a line but instead of dancing, they chant together. It’s a powerful form to watch since they synchronize their speech in a fierce yet poetic manner, expressing the history and passion they have for their sisters or brothers through not only words but strong movements. Being in sync is extremely important since the members are very close to each other, making it much more obvious to tell if someone is out of rhythm. Each group nailed it and I was super impressed by how much hard work they must have put in to accomplish that.  

Overall it was a great event featuring groups, music, and forms of art I couldn’t see anywhere else. 

REVIEW: Orpheus in the Underworld

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Orpheus in the Underworld (translated title) marks the premiere opera this season for the School of Music, Theater, and Dance’s vocal department at the Power Center for the Performing Arts. This runs for one weekend only, so get your tickets soon! Of the many versions of Orpheus and Eurydice’s tragic tale, this reigns as the goofiest production thus far. This whimsical satire is accompanied by fanciful costumes, a wholly creative set, and an ingenious allegory about the nature of capitalism. Director Mo Zhou brilliantly stated: “[Orpheus] is a mirror that reflects not only the capricious antics of the deities but also our contemporary world. It teases out the subtleties and complexities within the upper echelons of society, a world painted in various shades of grey.” (I don’t think I could give a more brilliant explanation if I tried!) I thoroughly enjoyed this opera and thought it was a refreshing choice after last season’s close with Don Giovanni by W.A. Mozart. If opera-singing and can-can-dancing Greek gods are an interest of yours— this opera is for you!

Orphée aux enfers is a French-language opera composed by Jacques Offenbach with a libretto by Hector Crémieux and Ludovic Halévy (English translation by Jeremy Sams). You may be familiar with the famously known and cheekiest song from the opera, the “can-can”, which is often used in pop culture. In the score, it is called the “Galop infernal,” roughly translating to “the hellish gallop”, as they famously kickline in Hades’ Underworld. This opera is conventionally all performed in French, but for this version, all the dialogue was performed in English with arias performed in French. I came into the performance skeptical of this method for continuity’s sake but left the theater agreeing with the decision for a predominantly English-speaking audience. Since many of the performers were native English speakers, it was much easier to make conscious acting choices since they were not dealing with French diction. For an academic setting, this was a great choice! The arias were beautifully performed in the original French, with phenomenal, stand-out performances by Tyrese Byrd (Arsteus/Pluto), Jack Morrin (Jupiter), Sohyun Cho (Eurydice), and Veronica Koz (Cupid). The chorus was equally thrilling and brought a beautiful liveliness to the atmosphere of the show.

The design for this show was spectacular. Scenic design was created by Kevin Judge, costumes by Sarah M Oliver, lighting by Marie Yokoyama, and hair/make-up by Brittney Crinson. Truly, there was always something to look at, or a small detail to become enamored with. Each tableau filled the entire space on the Power Center stage. Within the first moments after the curtain, the set had transported me somewhere. The world that was about to be created was immediately understood by the audience. The colors, dimensions, and vintage image backgrounds were all so charming. The 1950s setting was a very lovely stylistic choice, and I found it well executed throughout. The style was consistent between direction and design choices and these ideas flourished well throughout the show’s tableaus and costuming changes. SMTD has an undoubtedly polished and impressive design team, consistently dazzling audiences with their work on University Productions.

Orpheus in the Underworld was directed by the infamous Mo Zhou, who is fairly new to the School of Music, Theater, and Dance, having joined as an opera director and assistant professor in 2021. Ms. Zhou is greatly appreciated by the opera community for her innovative and fresh ideas in beloved classical works. She has a decorated resume and has worked with renowned classical music programs such as Glimmerglass and Music Academy of the West. She has worked domestically with the Virginia Opera, Minnesota Opera, Boston Baroque, Lyric Opera of Chicago, Houston Grand Opera, and Dallas Opera. Additionally, Professor Zhou has extended her skills to international levels, working with the National Centre for the Performing Arts in China, Staatsoper Unter den Linden in Berlin, and Elbphilharmonie in Hamburg, Germany. Ms. Zhou’s direction is playful, methodical, and keen. Orpheus was a testament to her brilliance—she created beautiful tableaus and effortlessly hilarious yet dramatic moments between characters. I admire her attention to detail in world-building and the thoughtful intentions behind each character. 

Orpheus in the Underworld proved to be a hit this Friday at the Power Center. There will be performances on Saturday, November 4th at 8 pm and a Sunday matinee on November 5th at 2 pm. Up next for the voice department will be Gianni Schicchi, the hysterically scandalous Puccini opera. This will be performed in McIntosh Performance Hall in the Moore Building on North Campus, on November 30th and December 1st. 

Images thanks to The University of Michigan and the School of Music Theater and Dance Facebook.

REVIEW: Stop Making Sense

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Stop Making Sense is essentially a Talking Heads concert in movie form. Originally released in 1984, the movie was re-released and remastered in September of 2023. The movie starts with David Byrne playing “Psycho Killer”, arguably the band’s most famous song, on acoustic guitar with a boombox in the background. The second song in the lineup features Tina Weymouth (the band’s bassist), and gradually more and more members join alongside them. As the band plays, members of the crew assemble the set in real time. The band has multiple outfit changes but only wears neutral colors, allowing the focus to be almost entirely on the music and choreography.

What surprised me the most about the movie was how physical the performance was. Once each member of the band started playing they did not stop continuously moving one way or another. David Byrne even started running laps around the stage at an early point in the movie. The dancing that accompanied each song was very deliberate, and sometimes required every member of the band to move in unison. There was a particular emphasis on mirroring each other’s dance moves, making everything feel put together and sharp.

Light was another important aspect of the performance. The band at one point altered the lighting so they could disappear in and out of the darkness behind them. Byrne even dances with a lamp at one point, which is in direct contrast to the industrial lighting available to them on stage.  The performance also has a brief intermission by the band Tom Tom Club which was formed by Tina Weymouth and Chris Frantz, the band’s bassist and drummer. 

Going in as a casual listener of the band, I was a little hesitant to go see the movie for myself. All of my reservations were completely thrown out of the window as soon as the first song started. It was definitely a worthwhile, and incredibly unique experience. Stop Making Sense  is perfect for the big screen, and seeing it reignited my love for the Talking Heads music.       

 

Photo from Fandango.com

REVIEW: Taylor Swift | The Eras Tour

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Taylor Swift | The Eras Tour was a crazy 2-hour and 45-minute-long film, and I enjoyed every second of it. I highly recommend experiencing it in theaters instead of at home; unlike regular movies, people sang, danced, cheered, and clapped in their seats (some even stood)! Although nothing could ever compare to seeing her perform live, the energy of the crowd was great and I felt like I got a glimpse of the ecstatic atmosphere at the SoFi Stadium in Los Angeles: the last stop of Taylor’s tour in North America and where the movie was shot. Not only was her tour sold out, but the movie the night I watched it was too!

Like most people, if you weren’t lucky enough to see her live, then the film is the next best thing. I’m not a Swifite, though I was in my elementary days. That’s why I especially enjoyed the discography in The Eras Tour, which covered all the music she’s released in the past 17 years of her career, including the three albums she never got to tour with. As the title of the tour suggests, it was truly a journey through all of her musical eras, and she ended the night with her most recent album Midnights (2022). My favorites were the classic You Belong With Me and Love Story.

The cinematography was absolutely amazing and truly captured Taylor’s stage presence and control over the crowd. The camera work showcased everything so well, such as the great chemistry between her and the backup dancers and singers, the stage set-up, and the graphics. The most breathtaking transition was right after she finished performing Our Song; as she walked towards the back of the stage she suddenly jumped down and became one with the ground, swimming with her striking red dress. She had several wardrobe changes throughout the night, ranging from black cloaks and white flowy dresses to glittery skin-tight bodysuits. They helped express the emotion of each era and she pulled off each one. In addition to being a phenomenal singer, Taylor also proved that she was a great dancer, guitarist, and pianist throughout her performances.

Though it was the longest movie I’ve ever seen it never felt like it dragged on. I highly recommend watching it, even as a casual fan or listener. It simply won’t be the same as watching it at home, so get a ticket soon! There will be multiple showings up until October 26th at the Michigan Theatre.