REVIEW: No Safety Net Student Kickoff Party

My companion and I arrived at the event 30 minutes early, as there was advertised free food 30 minutes before the performances began. I commend them on the choice to provide Jerusalem Garden, as this is a delicious caterer and the food was accommodating for different dietary restrictions (unless you hate all vegetables). While the space was not exactly ideal (there were almost no places to sit), we waited patiently for 30 minutes for the performances to begin.

It was not an issue that the Canterbury House is a small venue, because the crowd was small as well and got smaller as the performances continued. This might have been a good thing, because the performances got stranger and more unique as the night went on. However, I did not enjoy sitting on the floor for 2 hours, not counting the fact that most people actually stood for most of the evening, which I am sure was uncomfortable. Fortunately, the performances were interesting enough that it was bearable to not have seating for the audience.

The first performance was an improv group, The Midnight Book Club. They were very funny, taking a suggestion from the crowd and rolling with it, as well as doing continuous scenes that circled back around each other in ways that kept the audience’s attention. Their performance went by quickly, as it was well executed and purposeful. The second performance was a young woman who rapped, made her own beats, and sang. I did not enjoy this performance as much as I liked Midnight Book club, perhaps because I enjoy improv more than rap music, but also because I did not find her to be particularly talented. However, I could appreciate her rhythmic style and lyrics, even though her overall performance was not to my taste. The third performance was spoken word poetry by a man in gorgeous eyeliner. His poems were sad, and full of gorgeous hyperbole and symbolism. He spoke very fast, however, making it hard to hear every detail, and I wish I had been given a copy of the poems to look at more closely so I could understand all of the deep insights he was making. The final performance was definitely the most eccentric one of the night. The group was advertised as an improv music group, so I assumed it might be a little bit jazzy, or something similar that would round out the evening quite nicely. Instead, I was met with a cacophony of sounds that I would definitely not define as music. This group all played instruments, but they were not playing them together. When the saxophone player started wailing and making crying noises through the mouth of her saxophone, I knew that the group was much too interpretive for me. At a point or two, they seemed to all come together slightly and play as a group, but most of the time I was just confused as to what the mood, goal, or sound the group was trying to produce. It was certainly a performance I will not forget anytime soon.  Maybe that was their goal!

Overall, I do think it is very refreshing to watch small student groups perform when I usually only watch full out, professional shows. While the evening’s entertainment may not have been exactly what I had expected, I certainly am glad I went, at least for an interesting story to tell other people.

PREVIEW: It’s TAPpening

The last time I saw It’s TAPpening, the winter showcase from the RhythM Tap Ensemble, my review included quite possibly the worst lede I have ever written. Included here for posterity:

“That tappened. And it was, well, fanTAPstic.”

And though my puns were terrible, I enjoyed the 2018 show and it stuck with me. RhythM is the only group of its kind on campus; a dance company that focuses specifically on tap. While there are several contemporary, jazz and hip-hop troupes, RhythM is one of a kind.

So when I saw that RhythM was having its winter show this week, there was no question that I wanted to go.

If you’ve never seen a tap show, it’s a rhythmic, energetic and highly technical style of dance. While other types of dance emphasize primarily aesthetics, tap combines that with the sound of the taps on the shoes and how those sounds fit with the music. Though tap dancing is typically associated with Broadway musicals and old-time jazz standards, the last time I saw RhythM, they performed most of their numbers to current pop songs, with a few twists. You can watch videos of RhythM’s previous performances on their YouTube channel.

If you’re looking for a high-energy dance performance that showcases impressive musicality, rhythm and style — and a show you won’t see anywhere else — It’s TAPpening is for you.

It’s TAPpening is on Friday, January 24 at 7 p.m. at the Mendelssohn Theatre at the Michigan League. Tickets can be purchased online at $5 for students and $10 for nonstudents. The event is free with a Passport to the Arts. Doors open at 6:30 p.m.

PREVIEW: No Safety Net Student Kick-Off Party

This party is a preview of the semester’s theme for UMS: No Safety Net, the three-week festival featuring four provocative theater productions that foster timely conversations around topical social themes.

This particular evening is free, at Canterbury House. The night surrounds 4 performances: Midnight Book Club (improv comedy), a.n.g.e.l.i. (hip-hop/rap), Aldo Leopoldo Pando Girard (spoken word/poetry), and Virago (free improv/new music). The doors open at 7 pm, and the performances begin at 7:30.

If you’re not yet convinced, the event also provides free food…

Come this Thursday (1/16) for an engaging and unique group of performances!

REVIEW: 58 Greene Presents: Greenie Night Live

 

While several other a cappella groups performed last weekend, 58 Greene was the only one that mattered.

EnCore performing.

Now I guess I might be a little biased given I know and would die for Teddi Reynolds, one of the members of the group, but by the audience’s hoots and hollers throught the night I think it can be said they were also objectively good. Paired with two fabulous dancing groups (EnCore and FunKtion), the performance was smooth and stylish and properly varied. The song selections were a bit conservative, tending towards the classic, softer side, but that was nice. Flashy, chorerography-heavy performance is clearly not their style. In most of their songs they stand in a group, moving rhythmically, but not dancing. Instead they prefer to let their lyrical power enthrall the crowd. Not exactly reminscent of Pitch Perfect, but that is an unreasonable expectation for groups of all styles.

My only real critique of the performance is the lack of understanding some of the members have about their vocal range. While Scott McMillan’s performance of “Slow Dancing in the Dark” was wonderfully sweet and rich in tone, he had trouble reaching some of the high notes. I would have loved to hear him perform the song with pitch adjustments to better fit his range, or another song entirely. A few others had this problem in some spots, particularly with the higher pitches. While it is great to showcase one’s range, it is more important to focus on emphasizing the tones that come naturally. I could not begin to estimate the number of men I’ve heard singing in a falsetto voice when they definitely should not.

I was supremely impressed with the variety of voices within the group, from Danny Kim’s soft, soft high tones to Sarah Kleppe’s perfect mixing with Desirae Nelson’s voice in their “No Peace” duet. Teddi Reynolds and Rikvah Levine both gave me the shivers with their soulful selections. There were voices deep and high, singing like the soft wind and like the crashing sea. 58 Greene must have an awfully harsh audition process, given how talented their members are. Despite this assumption, for a flash of a second at the end I had a vision of joining the group myself. Then I remembered my non-speaking role in the eighth grade production of Mulan (I was the cricket) and promptly forgot this dream.

If you are more talented than I in the vocal arts, do try your hand at auditioning for the group. They are having winter auditions for Bass and Tenor parts on January 10th, 6-10pm in room 1405 of East Quad. Break a leg!

REVIEW: ComCo Presents: Chest Hairs Roasting On An Open Fire

Let me tell ya, folks, there is nothing like raunchy humor in improv comedy to really get you in the holiday spirit.

Before the show, instead of plum fairies or whatever on my mind, I thought only of finals and what the hell I was going to get my brother for Christmas. Afterwards, here I am in full St. Nick mode, my cheeks flushed, my voice jolly, my generousitity with baked goods at an all-time high. My mood has been lifted from its normal haunt (the gates of hell) up to the North Pole. I am only a little bit terrified of a future full evolution into that bearded chimney penetrator.

When I stepped into Angell Hall Auditorium A that evening I was shocked to find the crowd so large I couldn’t find a seat. Almost every event I review hosts a meager audience, sometimes no more than an infant’s handful of people showing up. It was refreshing to see so many people showing up to support the school’s longest-running comedy group.

The show was structured into several creative exercises they called games. There was I like my men like I like my _____, a chaptered story, another with characters who could only say the same two sentences, and others. While the scenes almost always slapped, the way they accepted suggestions from the audience wasn’t optimal. Often a repeated, audience-endorsed phrase would be ignored in favor of another they deemed usable. A true improv artist would never cherry-pick in this way. But regardless of this minor transgression, the group showed how deeply talented they are at coming up with often complex jokes and wordplay on the spot. I was most impressed with how long they kept up the full novel about the murderous reindeer, though they had to scrap a few chapters early on because they weren’t panning out well.

I’m sure it takes a lot of confidence to get on stage without a script and play a fool for a room of peers paying $2 a ticket. And I’m sure the power of making an entire audience dissolve into laughter from something you came up with a second ago is worth much more than most other pursuits. There are few opportunities like this that so fully improve the mood of everyone involved. It takes a certain kind of person to pull forward such powerful extroversion for a constructive use.

If you posess any rational thoughts at all, you will be wondering when the next Comco performance is. You’ll be able to attend another in mid-January after the semester begins, again in Angell Hall Auditorium A at 8pm.

 

 

REVIEW: Greenie Night Live

This last Saturday, 58 Greene’s diverse ensemble delivered Greenie Night Live, an amateur yet earnest a cappella performance with a unique set list that ranged from R&B to Alternative Indie. To start off the night, University of Michigan dance group Encore performed a dynamic set of choreographed dances to some tastefully layered tracks. Seeing as how this event was held in a lecture room of East Hall, having the space of a larger stage would have perhaps served the quality of this dance performance well.

The MC’s of this event tried to fill in the show’s gaps with repartee that most certainly had potential to be funny, yet often fell flat from a seeming unpreparedness or lack of chemistry.

I go to all my events with hopes of being blown away. All things considered, while 58 Greene has some great sound and even greater potential, the unfortunate acoustics of the lecture hall accompanied by a muddled sound-mixing often made the lead vocals feel rather lost amidst the remaining back-up members. Alongside this, a number of arrangements often felt rather imbalanced. I was really excited to learn that Joji’s Slow Dancing in the Dark was being performed, and while there was a commendable presence of supporting voices in the ensemble, the leading soloist’s  painful belting and flat delivery made it rather difficult to sit through.

On an extremely positive note, however, I found myself blown away by the smooth and sultry timbre of leading vocalist Teddi Reynolds in an arrangement of Jazmine Sullivan’s 2008 hit, Bust Your Windows. This was undoubtably the highpoint of the event as a whole, due not only to the killer vocalist, but also the well-synchronized supporting ensemble. This piece demonstrated the absolute potential that 58 Greene has when a strong vocalist is leading, which many of the other pieces lacked.

Ultimately, my conclusion is that a great number of the talented female ensemble members were often let down by a lackluster male foundation, often noticeable in the bass parts, and most certainly self-evident in the outperformance of the male soloists by the quality female soloists. I’m willing to reason that Greenie Night Live may simply have been an off-night for certain members of 58 Greene; however, since this was a ticketed event, I can only afford so much generosity in my evaluation of this amateur ensemble’s quality. Considering the strengths and the definite potential of 58 Greene, raising the expected standard for greater vocal talent and proficiency in leading vocalists could really carry this ensemble far.