REVIEW: Contemporary Directions Ensemble

The Contemporary Direction Ensemble’s Friday performance was emotionally powerful and also a challenge to conventional norms.

Their performance of “Die Schönste Zeit des Lebens,” or “The Most Beautiful Time of Life,” was breathtaking and haunting. The manuscript of this piece, a popular foxtrot of the 1940s, was recently discovered at the Auschwitz-Birkenau Museum by University of Michigan Professor Dr. Patricia Hall. Arranged by prisoners at Auschwitz for one of the camp’s orchestras, it was likely performed for Sunday concerts for the S.S.

As the ensemble performed this piece, the first time it has been heard in 75 years, images of Auschwitz were projected on the wall behind. The contrasts between the lighthearted music being played and the dark realities of the Holocaust in these images were stark, and for me, this highlighted the power of music and the strength of the human spirit. How could something so beautiful exist in a place of so much death? The melody, which out of the context that this arrangement was created from is carefree, took on a much more emotionally raw and evocative quality that stayed with me for long after the piece was over.

The final piece of the evening, which was vastly different from how the concert began, was the U.S. premiere of George Lewis’s P. Multitudinis. This piece, which was of “situational” form, consisted of several instrumental groups, a traveling percussionist and traveling conductor, and the “multitude.” Rather than playing music written out exactly as it is to be played on the page, the musicians reacted to what was going on around them and responded with their instruments accordingly. It was a very intriguing piece, more rhythmic and innovative than melodic, and it was fascinating to try to follow how the members of the ensemble communicated with each other throughout the piece. Music such as P. Multitudinus challenges the audience to be fully present in the moment, because the performance unfolds uniquely in a way that cannot be predicted, and it is a living, breathing form of art. Typical conventions of music performance were broken – at one point a trombone player borrowed a reed and bocal (the metal tube to which the reed is attached) from a bassoon and put it on the trombone. At other times, kazoo-like instruments were used. The piece was truly a broadening of creative boundaries.

I greatly enjoyed the Contemporary Direction Ensemble’s performance because it made me pause and really think about music and its roles in a way that more traditional concerts do not. The concert exemplified music as an interactive art form and as a means of communication.

PREVIEW: The 25th Annual Putnam County Spelling Bee

Get ready for the most ridiculous and entertaining spelling bee yet! Putnam County has some interesting characters in it, and its 25th annual spelling bee follows the lives of 6 special contestants who, while trying to spell long hard words, struggle with their personal lives in finding love and connections. Watch these quirky kids try to win The Bee, and in life, in this wonderfully hilarious musical at the Arthur Miller Theatre December 7 at 8pm and December 8 at 1pm and 8pm. Tickets are only $3 and are available at the door or online.

PREVIEW: Contemporary Directions Ensemble

Are you interested in music, World War II-era history, or both? On Friday, November 29 at 8 pm, the University of Michigan Contemporary Directions Ensemble, under the direction of Dr. Oriol Sans, will be performing a concert in Hankinson Rehearsal Hall in the Earl V. Moore Building.

The headlining piece of this concert is an arrangement of “Die Schönste Zeit des Lebens,” or “The Most Beautiful Time of Life,” a popular foxtrot of the 1940s. The manuscript of this arrangement was recently discovered by University of Michigan professor of music theory, Dr. Patricia Hall, at the Auschwitz-Birkenau Museum. It was arranged by prisoners at Auschwitz, and performed by the concentration camp’s orchestra. The Contemporary Directions Ensemble’s upcoming performance will be the first time that this arrangement has been heard since World War II.

If you are interested in learning more about this fascinating discovery before the performance, check out the article at https://www.nytimes.com/aponline/2018/11/26/us/ap-us-recovered-music-auschwitz.html or watch the video at https://www.youtube.com/watch?v=csDc14TbF5Y.
Admission to this event is free and open to the public! Seating is limited, so arriving early is recommended. If you have never been to the E.V. Moore Building, it is located on Baits Drive on North Campus, right by the pond. Follow this link for a Google map. Just walk down the sidewalk across the street from Pierpont Commons, or down Baits Drive from Bursley to get to it. Hankinson Rehearsal Hall is located down the hall to your right if you enter the building through the main doors, or straight down at the end of the hallway if you enter through the door near the pond across from Pierpont.

REVIEW: Thus Spoke AnnArbor Fall 2018 Performance

I had been made extremely curious about this semester’s performance by “安娜说 / Thus spoke Ann Arbor” from viewing the gorgeously illustrated posters brightening up campus in the weeks leading up to the show.  While I had been aware of the group for several years now, I finally decided to attend their performance for the first time, and after seeing it I can confidently say that I couldn’t have made a better decision.  After arriving early to make sure to get seats near the front of Lydia Mendelssohn Theater, we were informed that it would be a full house, which hardly came as a surprise at that point due to the fact there was only a few empty seats in sight and the noise level had grown to a nonstop roar.

One of the elements I appreciated the most about the show was the choice to divide the performance up into three shorter plays. It gave many more of the club’s members time to shine in a leading role than if they had just done one play, and the group was also able to challenge themselves to perform three distinctly different styles of play, suiting different members individual strengths.

The first play was a comedic romp titled “黑暗中的喜剧 / Comedy in the Dark.”  The play used physical and situational comedy as characters unveiled hidden secrets in a darkened apartment after a freak power outage. The second play, “人质 / Hostage“ was the shortest of the three, and featured a very limited cast and set. Instead it was more figurative dark comedy to the first play’s quite literal one, with two thieves mistakenly taking a suicidal girl hostage in an attempt to escape the police hot on their trail, and the intense interplay that followed.  The third and last play was “立秋 / The Start of Autumn” set around a century ago in China.  This was by far the most serious of the lot, and told the story of several families internal drama as well a competition between tradition and newly adopted Western ideals.  

The transitions from play to play were quick and painless, with crew members scurrying about to clear the relatively complex set up of the first play for the instead very minimal one of the second.  Considering how long the night was already, nearly reaching a full three hours, I appreciate the brevity in these areas.

The one drawback to the set up was that by the time the third play began most of the audience, myself included, seemed to be getting restless.  With no intermission, the last play with its distinct five chapters and several scenes basically revolving around intense discussions about banking and finance, I’m not proud to say that I was more than a little glazed over myself.  But the fact that the group did manage to hold the audience in rapt attention for the nearly two and a half hour run of the show is impressive in and of itself. 

Additionally, while there were undoubtedly a few intentionally humorous moments in the second two plays, especially the second one, because the audience had been primed to laugh in the over-the-top comedy of the first play, I noticed that the audience, myself included, began to burst into laughter even in otherwise inappropriate moments.  

While the group could have easily put on the play without adding subtitles on projections on either side of the stage for the very small percentage of the audience with less than fluent Mandarin, I appreciated the extra effort put in to make the performances accessible. As a member of that small percentage myself, I definitely found myself referring to to the subtitles frequently throughout the night, especially if a character was talking quietly and I was struggling to hear what they were saying in the first place.

That being said, with so much physical comedy getting the most laughs in the first play, and the more subtle acting in the second two, the experience was definitely better when ignoring the subtitles and instead focusing on all that activity on stage. The actors and actresses couldn’t have done a finer job, and I didn’t catch a single slip up as they all seemed to have prepared their lines to perfection. There was one humorous moment in the first play, however, when one of the sofas being used as props collapsed to the floor.  But like true professionals the actors and actresses continued undeterred, even finding time to prop the sofa back up, resulting in another wave of laughter. I was impressed by the professionalism of cast and crew alike, with the obvious hard work preparing for the show paying off.  I definitely plan on keeping an eye out for their performances in the future, and attending all that I can.

REVIEW: The Reign of Pops

The Michigan Pops Orchestra never fails to be entertaining with its program and exception with its music. This semester, we entered the Pops Kingdom and were greeted by many crown jewels of the classical music scene as Music Director Rotem Weinberg and Assistant Music Director Tal Benatar walked out dressed like kings and directed some royally magnificent songs.

The orchestra started with the “Overture to Nabucco,” followed by songs from Enchanted accompanied by a wonderfully-produced adventure video. There was some friendly banter where the person who claimed that he could play the violin with both hands tied behind his back was dubbed the “Lyin’ King,” which was a perfect segue into the Lion King Medley. Other selections from movies also featured some stunning soloists, including Mikaela Secada in “Almost There” from Princess and the Frog, Lorna Courtney in “Just Around the Riverbend” from Pocahontas. More quintessential royal pieces included Swan Lake, “Emperor Waltz,” and “The Prince of Egypt,” and we also explored the video game world with the “Kingdom Hearts Overture” that continued the journey of Enchanted. Finally, we ended with an out-of-this-world performance of the Star Wars Suite before wrapping up with the traditional “Hail to the Victors” encore.

The interactive piece of the program was a game called Name That Royal. We started off easy, with Queen Elizabeth, and then the responses became more clever, such as King Kong, Burger King, and Princess Fiona, so props to Pops for being just as witty as always. The music, though it seemed to fall apart a bit towards the end of the program, was enchanting and beautiful, parking during the “Kingdom Hearts Overture” and “The Prince of Egypt.” The Pops Orchestra took us on a magical journey, and the music they delivered was certainly worthy of a king.

REVIEW: Cabaret

Life is a cabaret. And MUSKET delivered a show set in Nazi Germany that made stark connections to America today. It was hard to walk away from the Power Center without realizing the many parallels that are still present, almost a century later, and it was certainly unsettling, which means these artists succeeded in delivering their message through an exceptional performance.

Wilson Plonk was a wonderful Emcee, setting the stage with the Kit Kat Klub girls and boys with many dance moves. The Emcee and Sally Bowles provided insightful commentaries as they performed at the club, the most striking number for me being “Money.” The Emcee started out as purely entertaining, being humorously risqué and joyously but as he became more distressed and terrified throughout the show, that unsettling fear about the actions underlying the show became more stark and drastic. When the Emcee held up the phonograph that played the recording of “Tomorrow Belongs to Me”, with a solemnly grim and pained look on his face, my stomach dropped, but that was only the beginning. As Fräulein Kost and Ernst Ludwig sang the reprise with a haunting pride, Clifford Bradshaw’s horrified face explained it all. Later, the scene with the Gorilla in “If You Could See Her” was shocking and impactful in how ridiculous it appears and how implicit we all are in its perceived ridiculousness.

Caroline Glazier delivered stunning performances as Sally Bowles, not just in the Kit Kat Klub with the rest of her girls, but particularly “Maybe This Time” and the iconic “Cabaret,” where she was shaking with anguish as she belted out these words. Samantha Buyers and Aaron Robinson portrayed Fräulein Schneider and Herr Schultz very realistically, and their duets, “It Couldn’t Please Me More” and “Married” were very moving. I think their performances were the most exceptional and compelling, since these college students brought the pains of old age and young hopes very much alive.

The director Isabel K. Olson made an interesting choice with the ending, having the characters step forward and say the line that embodies their way of approaching and handling and going through life. In the program, she said it beautifully: “are we the audience to injustice or active participants working against it?” As Sally Bowles shrugs aside politics and chooses to live in ignorant bliss, Herr Schultz desperately claims that everything will be okay because he is a German and Fräulein Schneider laments that she has no other choice. As the Emcee reveals his concentration camp outfit, strobe lights go off and all the actors jolt in a horrifying final moment before the ghost light is brought onstage and the actors take a single bow, leaving the light, and its impact, behind.