PREVIEW: New Beat Happening Presents: Diet Cig and Palm

Like alternative rock/ indie pop? This Wednesday, April 4, at 7:30 PM, come to the Union for a FREE Diet Cig and Palm concert, presented by New Beat Happening, a student org committed to bringing music to campus. (Tickets are free to students with an MCARD, when purchased at MUTO. If you would like to buy them online, they are $5).

I have been listening to Diet Cig for a while, and am personally really psyched to be able to see them play live. If you are a fan of Girlpool, Frankie Cosmos, or Slutever, you will probably enjoy Diet Cig, too. Their sound is bouncy and fun, a true testament to the “indie pop” genre. Check them out on Spotify! My favorite songs by them include “Harvard” and “Link in Bio.”

I am not as familiar with Palm, who are listed as part of the “experimental rock” genre, and who describe themselves as “playing rock music backwards.” The New York Times hailed the band as being “one of the most ambitious and promising acts in today’s art-rock scene.” I recommend giving their EP, “Shadow Expert,” a listen.

The Facebook event can be found here, and more information about the artists can be found on their Spotify pages or Bandcamps (1, 2).

 

REVIEW: Bloom

NERDS can lift any sad or sick spirit. After a couple days of feeling under the weather, involving little movement and work, I made my way to the Union to watch this semester’s production of Bloom. And that was certainly the highlight of an otherwise bad weekend.

As a purely student-run theater group, this original production was amazing in terms of its talent in acting, singing, composing, and writing, as well as the powerful message it conveyed. Despite some curtain technical difficulties (handled with poise and laughter) and an extended intermission due to the game (GO BLUE), the cast carried on and performed this important work filled with heartfelt, heavy content that is not represented in media enough. The importance of the opportunity NERDS provides students cannot be emphasized enough. Diana Yassin, part of the ensemble, said, “It was a really good experience because I’ve never done anything theater-based in high school because it was always really intense and stressful and scary. But then I came here…and it was really fun and there’s not a lot of pressure on it and everyone’s really nice.” You heard it here folks: NERDS makes dreams come true.

Leah King and Asritha Vinnakota’s portrayal of best friends Margot and Aggie, each struggling to make sense of their own sexualities, was very real and authentic. Their misguided intentions and projected insecurities are problems all too common in friendships and the community. The fact that this Austen-era world highly resembles today’s world still is disconcerting. But it is works like this that is changing the narrative.

This musical had many intricate layers that complicated the lives of the characters. Playwrite Sarah Costello did an amazing job highlighting the difficulties of being understood, even among close friends and people who might understand you better than you might think. The tension between Margot and Aggie was heartbreaking, as their struggles were more similar than they knew, showing how one’s identity may obscure the understanding of another’s.

Taking place in a world where impromptu love duets determine your fate, Margot’s inability to romantically duet led to many raw solos that Leah absolutely killed. Asritha’s gut-wrenching performance of “Right In Front Of Your Eyes” showed everyone the silent struggles Aggie also deals with as she grapples with her own feelings of bisexuality. Toby Jaroslaw’s well-intentioned Ollie complicated the situation but despite his embarrassment, his continued support at the end is a perfect example of how one should treat someone who comes out as asexual and aromantic — exactly how you treated them before (and his proposal number “Next To You” was stuck in my head for the rest of the night). As the town’s outcast, Ellen Paquet’s song as Aunt Clarabel was so beautiful, it was exactly what Margot needed to hear. And the platonic duet between Margot and Aggie at the end was truly heartwearming as each character began to accept that they are exactly who they are meant to be.

The costumes were beautifully designed and symbolically important. Margot’s stunning dress — purple, white, and black — was the color of the flag for asexuality, and Aggie’s was the color of bisexuality — pink, lavender, and blue. The subtle symbols may seem small, but they are huge for raising awareness, as well as being an integral part of each character.

Bloom was truly groundbreaking in terms of representation for invisible and misunderstood minorities. Castmember Fareah Fysudeen commented on the significance of this musical, saying, “I think it’s really important for representation…and I’m sure it meant a lot to people in the crowd and onstage. Overall, it was just a really enriching experience.” Just as Sarah wrote the change she wanted to see, every member of NERDS believed in the power of this musical and dedicated three months of their time to this production, being the change they also wanted to see onstage.

Championing platonic love over romantic love, a concept foreign to many heteronormative people, is not weird or abnormal. Being aromantic or asexual does not mean something is wrong with you. Just as Margot was a beautiful character that gradually found her way to happiness and acceptance, if you are struggling to find your place with your sexuality, Bloom shows that there is a community that cares. You are wanted, you are accepted, you are loved, and you are supported. You, too, will bloom.

PREVIEW: Lost in Wonderland

There’s an extraordinary amount of talent on this campus, from singers to actors and dancers to speakers. Now, get ready for the best Chinese Yo-yo-ing and glowsticking you’ve ever seen! Photonix and Revolution present Lost in Wonderland, featuring many talented guests from around campus, including Groove, G-Men, Flowdom, and Funktion.

The Mendelssohn Theater at the Michigan League is about to be filled with wonder. If you want in on the action, get your tickets at the door for $7 on April 1. The performance starts at 7pm, so arrive early to get your tickets before they sell out!

PREVIEW: Bloom

Have you ever loved to write, compose, direct, produce, and perform musicals but just didn’t have the time to be involved with major productions or declare an acting major? Well there’s a group on campus filled with talent and passion — just not necessarily that time. However, that doesn’t make them any less amazing.

Not Even Really Drama Students, or N.E.R.D.S. is dedicated to exactly that, and they’re bringing an exciting never-before-seen treat to the Union this weekend. This semester’s original musical is called Bloom, and it explores underrepresented sexualities in a world where impromptu love-song duets are of the utmost importance.

Showtimes are Friday, March 30 at 6pm and Saturday, March 31 at 1pm and 7pm in the Anderson room in the Union. And did I mention they’re all FREE? So there’s nothing stopping you from coming out and supporting some of the biggest theatre lovers with their hard work and commitment toward bringing original works for you!

REVIEW: In the Heights

It’s been some time since I’ve studied art history, but I remember one of the first things I learned about looking at a composition is the way the eye is directed to move around the piece of art. During nearly every musical number of In the Heights, I found my eyes moving around it in a way that felt deliberate – and I was unstoppably stunned the entire time.

From its very first scene with Graffiti Pete dancing, spray-paint can in hand and somehow defying all sorts of gravity, I don’t think my jaw left the floor. It was an excellent primer for the choreography of the rest of the show. During intermission, I flipped through the program and was equally stunned to learn that this show had two debuting choreographers in its cohort. Needless to say, those involved in the show radiated their talent into one of the best MUSKET shows that I’ve seen. The main cast and ensemble had near-perfect unison in their group movements while keeping their voices strong and smooth. A hallmark of Lin-Manuel Miranda’s musicals, I enjoyed the incorporation of rap and hip hop and loved that the actors also seemed to enjoy it.

The cast, primarily actors of color, seemed made for the roles — especially Usnavi. While this was my first introduction to the musical itself, I felt that his casting could not have been more perfect as the bodega owner close-knit with those around him. Additionally, his character was such a centrally driving factor of the show’s main themes: community and the familial support that comes of it, and sense of identity in terms of the idea of “home” as an immigrant. The show also explored themes of being a first-generation college student, gentrification, cultural identity, and past versus future with the turbulent present that lies in between.

Cast and director Bruna d’Avila answering audience questions following the Saturday performance.

Following the show — which made me laugh, cry, and be completely astounded — I stuck around for the talkback with the cast and director Bruna d’Avila. As a senior and having seen 6/8 of the MUSKET shows put on during my undergrad career, I hadn’t experienced an addition like this and was excited to hear their insights. Several other impressed viewers (from high schoolers in a theatre group to adults who have emigrated from Latin American countries) sat around me and praised the crew for doing incredible work to highlight a story to which they expressed their personal relations to and respective admiration for the show. Stories such as these are beyond what I personally have experienced, though I felt grateful that a show such as this one exists for those whose stories it mirrors as well as a method for others to better understand these complicated notions of home and new life in America.

When asked about her favorite musical number of In the Heights, d’Avila excitedly spoke about “Carnaval del Barrio” and the importance of waving your flag proudly. This was a number with which I was also enamored both because of the cast displaying flags of specific Latin American countries and because it was one of those numbers full of complexity. Several lines of verse from its main characters worked into and beside one another as the song concluded, and I found my attention moving from one to the next in a circular pattern before realizing just how inimitable this scene was as a climactic moment.

The ending scene of musical number “Carnaval del Barrio”

There was not one part of this show that I disliked — every cast member appeared devoted to their roles and it showed. Each named character had their own arcs, even the piragua vendor/comic relief, Piragüero. Similar to the works of authorial genius Victor Hugo, the characters were interconnected with one another in a way that made the show feel well-rounded, as opposed to restricting certain characters to certain storylines. Everybody knew each other, which made the sense of community and family (which are not mutually exclusive) especially strong.

MUSKET has kept my attention all four years that I have been here, and I have made it a point to see as many of their shows as possible. Each of those shows have left me feeling impressed and grateful that such a talented group of people can become a familial community over a short span of time for a weekend of performance that blows us all away. If you also love musical theatre and are interested in getting involved with the team, the MUSKET family is always welcoming of new members.

REVIEW: That Brown Show

I was immensely pleased to find that when I walked into the theater, they were playing Tamil music. And not just any Tamil music, Tamil music from two 90s movies, probably on an album I’ve loved for years. Such a serendipitous alignment with my music taste is extremely rare.

I thought a lot about how connected the Indian community is to its home country. It was more visible to me than usual, perhaps because I haven’t been back there for four years and a visit is long overdue. As usual, there was much more enthusiastic singing for the Indian national anthem than the American one. Sahana Music, the first group to perform, then chose to give a rendition of “Vande Mataram”, which is India’s national song, stoking the sense of community in the room. Similarly, other performances also presented themes of unity and friendship.

I was on the main floor this time, which afforded me less of a view of the geometry of the choreography than I get from the balcony. Because of this, I think I missed out on part of the bhangra team’s usual visual spectacle, unfortunately. They do an amazing job usually and the performance didn’t come off as well when the choreography was obscured. Sahana Dance presented three different types of Indian classical dance. Choreographing all three to work in harmony is a feat, but they did it. I was confused and then very pleasantly intrigued by the fact that they didn’t dance to traditional Indian music. Instead, it was fusion music, and I loved it. I do wish it had been softer, though, because hearing the footwork in Indian classical dance is essential. (On that note, they could use some work on their sound mixing, as well as their video editing, which I realize is not the emphasis of the performance but would like to mention anyway). I was especially impressed by Izzat’s performance. Normally, the all-male Indian fusion dance team performs with a very angular movement style, but this performance showcased a versatility I didn’t know they had. They danced to multiple genres of music, from hip-hop to Bollywood to “Bare Necessities” (their performance was themed on The Jungle Book). Of all their dances I’ve seen, this was in my opinion the best one. And incidentally, their performance gave the story a peaceful ending too.

Every performance was vibrant, both in color and in character, as it should be because that’s what India is too. I always leave such shows longing for India’s exuberance; it is unashamedly itself, and ready to declare its presence to the world. Note for example the difference in audience. In most Western performances I attend, the audience murmurs quietly until the lights dim, and remains silent from then on. Not so here: the audience has no problem calling out people’s names and cheering them on. Two of the performances used strobe lights; you couldn’t fall asleep to the music if you tried; and all had bright costumes, no pastels in sight. And everyone was just having so much fun.

One last note: There was also a small art exhibition in the hallway, showcasing work by Indian artists. I really liked looking at the work: the thought process is so evident and meticulous, and stylistically the pieces were all beautifully executed.