Category: Music

REVIEW: A Little Night Music

musicalsoup Leave a comment

[Title photo: Cole Newburg (left) and Audrey Graves.]

Of all the entangled romantic comedies in musical theater, A Little Night Music is quite the knot. The Department of Musical Theater completes its 2023-2024 season with Stephen Sondheim and Hugh Wheeler’s musical-operetta surrounding a horny mess of bourgeoisie adults at the turn of the century in Sweden. But it gets better—accompanied is a full orchestra with the most waltz-worthy melodies that string you right along with this troupe’s ridiculous antics.

The plot is quite dense. Desirée Armfeldt (Carly Meyer) is a fading actress touring small theaters across the country. She has a young daughter, Fredrika (Mariangeli Collado), who lives with her grandmother, Madam Armfeldt (Kate Louissaint), in the country. Desirée continuously delays seeing her daughter, preferring her life on tour in the theater. On the other side of town, Fredrik (Cole Newburg) and Anne Egerman (Audrey Graves), the newly married couple (with a quite significant age gap) live with Henrik (Michael Fabisch), the teenage son of Fredrik. He is a seminary student, frustrated and often ignored and mocked by the family with contentious feelings for his stepmother, Anne. One evening, Anne and Fredrick go to the theater, where Anne learns of Fredrik’s romantic history with the leading actress, Desirée. The two share an evening together, until interrupted by Desirée’s current affair, Count Carl-Magnus Malcolm (Owen Scales). Thus begins a spiral of jealousy and scandal when Desirée invites both couples Count Malcolm and Countess Charlotte (Gabriella Palminteri) and Anne, Fredrik, and Henrik to her mother’s home in the country.

This production was directed by Telly Leung, a graduate of the University of Michigan Musical Theater Department and an active Broadway performer. Direction choices were thorough and aesthetic for a venue that can leave you uninspired. However, the choice of an electric lime-green floor often took me away from the glamour of these characters’ lives and exceptional music and performances. This was in part recovered by a spectacular costume design right out of an Edwardian-type 1900s Sweden.



.

The orchestration of the show is near perfect. A full orchestra accompanied the performance tonight at the Power Center, one of the finest pit orchestras I have heard at this University to date (musical direction by the fabulous Catherine A. Walker). A glimmering orchestra underneath some of the most brilliant voices at the University was a perfect end to the semester.  With leading women Carly Meyer and Audrey Graves, there was not a single pedestrian vocal moment. Their attention to virtuosic vocalism while navigating Sondheim’s cheeky text was a thrill. Angeleia Ordoñez (Petra) brilliantly performed one of my favorite tunes of all time, “The Miller’s Son”. It’s a satisfyingly audacious song from the promiscuous maid, Petra, and a 4-minute three-part opera in performance, displaying Petra’s keenness to the lives of the bourgeoisie around her. A groundbreaking 11-o’clock number, Ordoñez nailed it. The expansion of The Quintet (a decet for this production), enriched the musical score at whole, perhaps an ironic reflection of the three couples’ extravagant lifestyles. My favorite performance of this evening had to be Fabisch, accessing spot-on character physicality and honest comedy for the crowd-favorite Henrik. Not to mention his spectacular vocals shining through Sondheim’s tricky tuplet score.”

“A weekend in the country” with this outstanding cast would be my pleasure, anytime at all.

[Mariangeli Collado (left), Carly Meyer, and Kate Louissaint]

 

April 19th, 2024, 8pm. Power Center for the Performing Arts. Images thanks to The University of Michigan Department of Musical Theater.

REVIEW: Falsettos

musicalsoup 1 Comment

[Title photo: Sam O’Neill (left), Caleb McArthur and James Parascandola.]

It’s not often that I see a show that leaves me as moved as Basement Art’s production of Falsettos did.

Basement Arts is an organization whose mission is to create “inclusive student-produced theatre by allowing students from across campus to execute all aspects of the theatrical production process”. They perform three shows a semester, as well as produce the annual Late Night events such as the Mx. Walgreen Pageant and 24-Hour Theater. This semester already featured some emotional heavy hitters —Collective Rage: A Play in 5 Betties by Jen Silverman and For Colored Girls/When The Rainbow is Enuf by Ntozake Shange.

Falsettos is a culmination of merging two one-act musicals, March of the Falsettos and Falsettoland, produced individually in 1981 and 1990. A fully sung-through musical— there are few moments without song. However, much of the show reads as a play, with heightened drama in every moment and not a single superfluous word. The show follows a Jewish Family in New York City in the 1970s— Marvin (Sam O’Neill), the frustrated ex-husband of the underappreciated Trina (Caroline Patterson), and partner to the stylish Whizzer (Caleb McArthur). Trina and Marvin’s son, Jason (James Parascandola), is growing up quickly, rapidly reaching the age of his bar mitzvah. Among all this, Trina and Marvin’s psychiatrist, (Sammy Guthartz), fall in love and get married. Thus, completes the web of this unusually interwoven family. That is, until you meet the quirky lesbians from next door in Act II, Dr. Charlotte (Abby Lyons) and Cordelia (Kate Cummings).

Falsettos was written by the incomparable William Finn and James Lapine, both Jewish writers (and Finn identifying as queer himself). It’s hard not to love this gem of a show. Its mechanical musical composition and emphasis on developing endearing and complex characters make the show feel complete and questionably familiar. The music is fun and catchy yet requires exceptional musical expertise to execute well (skillful music direction by Caleb Middleton).  The story blends humor and heartache while these characters are on their quests for happiness and acceptance.

The relevance that Falsettos retains from its 1992 premiere is remarkable. Difficult family dynamics, a rapidly changing social landscape, and a world that feels like it’s uncontrollably crumbling around them. Successful musicals stand the test of time, and after over three decades it’s clear that Falsettos made the cut.

The tense family dynamics were masterfully cultivated by director Naomi Parr and navigated equally as masterfully by this intense and thoughtful cast. Patterson (the needy, Trina) has one of the most captivating voices in the show—she does not shy away from the luxurious lines in the score while capturing Trina’s true angst and frustration with the imprudent men in her life. Her dynamic alongside the charming and perfectly awkward Mendel (Guthartz) was sublime. O’Neill and McArthur navigate perhaps the most complicated relationship dynamic in the show, one loaded with lust and devotion, sprinkled with violence and need for acceptance. The nuance the two brought to this unbelievably deep relationship was remarkable. Whizzer and Marvin’s poignant love maneuvered through each twist and turn, even past the heartbreaking finale—an arduous task beautifully achieved. Underneath these two intricate relationships leaves Jason (Parascandola), who left to pick up the pieces (literally and physically). Parascandola’s playful exchange with youth and hope left me rooting for Jason, wondering where his little life will take him next. It’s plain to see how this cast ripped my heart out and left it in the 1970s with them.

The cast of “Falsettos” and director Naomi Parr.

Parr states in her director’s note: “Falsettos addresses devastating tragedy but lives instead in the celebration of life, including mishaps that surround these moments of grief.” With one of the most responsive and touched audiences I’ve ever encountered, it seems the only thing missing from Falsettos was another weekend of shows.

 

April 6th, 9pm. Newman Studio. Images thanks to Naomi Parr and Basement Arts.

REVIEW: Will Liverman and Karen Slack at Stamps Auditorium

musicalsoup Leave a comment

April 7th, 2pm.

The Department of Voice and Opera eagerly welcomed Will Liverman and Karen Slack to a residency this semester, both of whom have enjoyed wildly successful careers as opera singers worldwide.

Karen Slack is an American soprano known for her powerful and emotive voice, as well as her versatility across a range of musical styles. She has performed with major opera companies and symphonies worldwide, in both traditional operatic repertoire and contemporary works. Slack debuted the role of Billie in Terence Blanchard’s Fire Shut Up In My Bones at the Metropolitan Opera in 2019, as she maintains a strong commitment to performing the work of living composers. She was awarded the Sphinx Medal of Excellence in 2022, a prestigious award for artistic achievement. She is an active educator and coach in Universities across the country, including our own! In addition to her vocal presence, she also hosts an interview web series called #KikiKonvos. It began on Facebook Live in the height of the pandemic and has continued ever since.

Will Liverman is an American baritone with a collection of prestigious operatic credits as well as successful discography and concert work. He debuted the role of Charles in the Metropolitan Opera’s Fire Shut Up In My Bones, by the fabulous Terence Blanchard. (The album of which won the 2023 GRAMMY Award for Best Opera Recording.) Last season, he sang the title role in Anthony Davis’ groundbreaking work, X: The Life and Times of Malcolm X at the Metropolitan Opera. As well as a highly desired singer, Liverman is also a composer. The Lyric Opera of Chicago presented the world premiere of Liverman’s new opera, The Factotum, which he starred in and composed with DJ King Rico. He has performed worldwide in operas and recitals while making time to educate and coach in universities across the country. He also has the most fabulous shoe collection I have ever seen.

The two held a 3-day residency at the School of Music Theater and Dance, holding a departmental Q&A, a vocal masterclass, and finishing out with a stunning recital featuring the two. It was incredible to hear these performers speak about their lives as opera singers, as they have been instrumental figures in modern-day classical music.

The recital featured a collection of songs by Margaret Bonds, Harold Arlen, Nina Simone, Florence Price, Undine Smith Moore George Gershwin, and Shawn Okpebholo! The repertoire choices were predominantly by Black and female composers, a majority that is not often represented in the classical canon. Their performances of these art songs and arias were each thoughtful and provocative, with thoughtful emphasis on the text. There was a true connection and conversation within each piece, along with some of the most virtuosic vocalism I have ever encountered.

The two wrapped up the recital with the iconic duet from Gershwin’s Porgy and Bess, “Bess You Is My Woman Now”. A beautiful and heartwarming duet, I thought a wonderful way to end the evening—until their encores! Liverman performed a beautiful and pensive song he composed, and Slack sang Giordanni’s “Caro mio ben”, a tune brought into the mainstream from Beyonce’s new album.

Their residency was truly spectacular, filled with inspiring vocalism and encouragement for aspiring singers. What a gift to welcome these educators and performers to our University!

REVIEW: Impulse V: Roots (hosted by MEMCO)

Stellamae Leave a comment

Another unforgettable MEMCO (Michigan Electronic Music Collective) Impulse event at Club Above!! The theme of this month’s event was: Roots. It celebrated and highlighted black DJs, reminding all of us of techno music’s history–it was created by black people, specifically not too far from Ann Arbor in Detroit, Michigan. This event was paired with a film premiere of a new documentary (12 years in the making) about Detriot techno called God Said Give Em’ Drums and a panel discussion with legendary Detriot Djs like Stacy “Hotwaxx” Hale, Delano Smith, John Collins, and DJ ETTA. I sadly was unable to attend the screening and panel but the good news is the film will be in theaters soon! So when you are all able to, go watch it!!!! Then, come celebrate at a MEMCO event. If you haven’t been to one yet this is a great time to start, and if you want a preview of what you could experience…keep reading! 

I go to most MEMCO events, but I was especially excited for this one. I am originally from Los Angeles, California, and coming to Ann Arbor, Michigan, it was hard for me to feel a part of the community. I don’t like sports games, I don’t call soda “pop,” and I’m not sure I could tell you anything about the automotive industry (not to diminish Michigan culture to these three things, but I hope you get the point). Learning about the origins of Techno music and going to my first MEMCO event, I felt right at home and proud to call Michigan my new home. Roots was the first MEMCO event I’ve gone to with only black DJs. It was some of the best sets I’ve heard. There wasn’t a moment that I didn’t want to dance and move my body. Even when DJs switched the transitions were smooth and intentional–there was never a moment of stillness. 

My personal favorite sets were from DJ ETTA and MEMCO’s own NAPHTHA. DJ ETTA’s set was extremely fun, mixing hip-hop music with funky techno beats. She did an amazing job pacing each track and the evolution of each sound, i.e., adding sounds, distorting them, and playing with pacing/types of beats used. NAPHTHA was surely my favorite, though. His set had everyone dancing and gasping at the perfect transitions from track to track. I remember Club Above turning the lights on at the end of the set, and a group of us were so distracted by his set that we wouldn’t stop dancing. It’s one of those things where “you had to be there”. Looking up at the DJ booth, it looked like NAPHTHA was a scientist and was carefully using the mixing board–he knew how to use it so well I swear he could’ve made the board himself. It made me so excited that NAPHTHA is a UMICH student, and that someone so talented gets to share the campus with all of us. He is also currently a junior and will be around next year, DJing for more events so if you get the chance you must hear him play!!! I would not recommend anything more. The next MEMCO event is on April 20th at Club Above. The theme is Femme Fatale, and all of the DJs will be femme DJs!! Another very exciting event ending the semester with a BANG!

REVIEW: Samara Joy comes to Ann Arbor

sjshin Leave a comment

Let me start this off by saying that I don’t have much experience in music. It started with the obligatory piano lessons in first grade from my Korean parents, then a short-lived, shame-riddled violin career in eighth grade that never left the classroom. That’s all to say that I have little to no credentials to be reviewing Samara Joy, two-time Grammy-winning jazz vocalist at only twenty-four. Yet here I am, still listening to her hit album, Linger Awhile, and writing my thoughts on her performance. This “review” will be drawn from the haphazard notes I took from March 27, meant to be more of a poetic retelling of my experience than a critique of the evening.

Joy’s performance began with a phone loudly ringing and a baby’s cry slowly fading off as they were escorted out from their seat. Still, Samara’s lilting voice reverberated as she took the audience across the map of her musical notes. The accompanying band fell into her rhythm, Evan Sherman on the drums shining in particular as his light beats sped through the composition. The crowd stilled as Joy went through her vocal runs, until we broke into cheers of awe. Following family tradition, Samara joy began singing in church and later at a jazz band at Fordham High School for the Arts. She later attended SUNY Purchase’s jazz studies program, meeting the late Barry Harris, to whom Linger Awhile is dedicated to.

Throughout the program, there were moments where each artist could shine; Jason Charos on trumpet took the stage in You Stepped Out of a Dream (Nacio Herb Brown, lyrics by Gus Kahn) as Samara stepped to the side, her vocals accompanying the lead of his trumpet. Trombonist Donovan Austin got the limelight as he performed his original A Fool In Love Is A Clown, a slower rendition from the previous song. Transitions between instrumentation and vocals were incredibly seamless, the synergy pulsating from the stage.

The lighting team were part of this synergy; the slow shift of magenta into blues, rimmed with a golden light at the perimeter. A truly beautiful moment was when the light shifted into a red pink hue as A Kiss From You (Benny Carter) opened up, and later, into a soft purple as Now and Then (Barry Harris), arranged by alto saxophonist David Mason, was performed.

Perhaps one of my favorites was Samara Joy’s take on Sweet Bumpkin, originally written by Ronnell Bright and later covered by Gloria Lynne. The genre blending, the plays with silences, pauses, skips of beat, before sliding back into a playful burst of energy. Kendric McCallister on tenor saxophone particularly shined during this performance. And of course, I have to give a shoutout to the classic bossa nova Chega de Saudade (Antônio Carlos Jobim, lyrics by Vinícius de Moraes), which has been a top track in one of my many playlists, truly highlighting the beautiful duo performance between Charos and Donavan Austin on trombone.

More information of Samara Joy’s tour can be found on her website, and if you can’t make it to one of these venues, I highly recommend you all to listen to her music on any of your streaming platforms. A big thank you to UMS for their amazing programs; more can be found on their site!

Image thanks to the University Musical Society.

REVIEW: The G-Men’s Winter Concert, ‘One G-Rection’

Arlee Bay Leave a comment

Last Friday, I decided to attend my first acapella concert in two years on a whim. After learning about the G-Men’s winter concert last week, I was intrigued – I had attended several years of G-Fest in the past, an “annual showcase of the best student groups the University of Michigan has to offer,” per the G-Men’s website. I’ve always enjoyed this eclectic collection of performance groups and was curious to see what a different style of showcasing looked like for this all-male acapella ensemble.  

Upon arriving at Rackham Auditorium and picking up my ticket, I was immediately invited to scan a QR code to view the concert’s program. This provided an instant glimpse into the essence of the evening. From the beginning of their concert, the G-Men exuded an energy that was both goofy and charmingly awkward, yet unmistakably self-aware. This tone was established from the moment I opened the virtual program. One of the highlights for me was the group members’ comical bios and photos, which set the stage for the tone of the night’s festivities. Despite the lighthearted approach, the program still provided essential information, such as the set list and social media handles. Throughout the evening, each song was introduced with a cheesy yet endearing preamble, perfectly capturing the group’s spirit of ‘silly men, serious music’. This energy was also evident in the group’s comedic approach to explaining their concert title, ‘One G-Rection’.

If you were wondering, I can confirm: Pitch Perfect really does emulate the accurate energy of college acapella concerts. The G-Men’s performance never disappoints. Senior G-Men member Max Crandell arranged seven songs for the evening, and I remain consistently impressed by his theory skills. The group’s blend was impressive, and each soloist brought their own personality to the song as they stepped forward to lead. I particularly enjoyed the soloist performance by Leo Kupferberg, a junior member who performed “Blow” by Kesha, as he exuded confidence and joy that are no doubt characteristic of his approach to the G-Men as a group. Overall, I was impressed by the musical performances of the G-Men in their winter concert. This came as no surprise to me, as the quality of each song I’ve seen performed by this group is always high.

The only other student performance group listed on the bill was Midnight Book Club, known across campus for their short-form improvisational comedy. I have to admit, I’m not always the biggest fan of college improv, but I thought this group did well in their scene work, especially considering the number of audience members they had to work with.

Unfortunately, the concert itself was not highly attended. As I looked around at the audience, I noted the age of my fellow spectators. I saw very few University of Michigan students – it seemed that most of the attendees were parents or family members of the G-Men’s members, and I would estimate that the Rackham Auditorium seats were about 25% full, give or take. While I did love the amusing song introductions and I mostly enjoyed Midnight Book Club’s performance, the minimal audience attendance definitely skewed the comedy of the night to prompt an awkward chuckle, as opposed to raucous laughter. After attending G-Fest for several years, I know this group has the potential to draw a larger crowd. I believe that there is room for growth in the G-Men’s marketing strategy, and the performance itself may have been better attended if more performance groups were listed on the bill, similarly to G-Fest. 

The University of Michigan boasts an established and engaged acapella community, with fourteen groups affiliated with the Michigan Acapella Council, but this minimally attended performance led me to ponder how frequently these groups interact after the ICCAs conclude each year. When each group gets immersed in their own winter programming, does the community momentarily disband?

I look forward to attending more G-Men events in the future, and I sincerely hope that more students get the opportunity to check out their impressive performances. Keep an eye out for the next G-Men album, which was recorded recently and will be released in late 2024.