That Brown Show is an annual performance hosted by Michigan Sahānā featuring many UM Indian American performance groups, including Michigan Manzil, Maize Mirchi, Michigan Bhangra Team, Michigan Raas Team, Michigan Izzat, and Michigan Sahānā. Some groups are vocal or instrumental ensembles, and others are dance groups.
The show is Saturday, March 10 (today) at 7:30pm at the Michigan Theater. Doors open at 7pm. Student tickets are $12 at the door and non-student tickets are $15.
I have been to the show twice before, and the performances never fail to impress. I expect today’s show will be equally arresting.
The UMS production of Porgy and Bess was hyped up to be a surefire showstopper of a production. It did not disappoint. The University Symphony Orchestra, directed by Professor Kenneth Kiesler, sounded great and did a particularly good job of playing well in relation to the singers. They had a unique assortment of instruments for this performance, incorporating banjo, saxophone, and a lot of percussion into the standard orchestral instrumentation. In addition, there were a lot of cool sound effects coming from the back left corner of the stage including, police whistle, hurricane bell, siren, and an alarm. Despite the mental and physical challenges that come with a four hour performance of music for any group, I thought that the orchestra finished the night even better than they started. It was clear that they had put a lot of hard work into learning this music. The chorus sounded fantastic as well and provided a powerful force at the back of the concert hall that added a multitude of different elements to the performance. The spots where everyone sang as the orchestra played their hearts out made for some truly special moments. All of the student actors and singers who had singing and speaking roles were exceptional. Even if they only had a few lines or a few bars of song, they really shined and made the most of their opportunity to perform on a stage of that caliber. As great as the student performers were, the professional singers that UMS brought in to play the principal roles really put the production over the top. Chauncey Packer, the cast member who played “Sportin’ Life” gave a flamboyant and incredibly entertaining interpretation of the song, “It Ain’t Necessarily So” and it suited his portrayal perfectly. It seemed more like a Broadway number than an opera aria with his slick dance moves and high kicks. Talise Trevigne and Karen Slack, who played Bess and Serena, were sensational on their arias and duets. “Summertime” started the show off on a high note an it only got better from there with the performances of “My Man’s Gone Now” and “What You Want Wid’ Bess” amongst other songs. The man who really stole the show was none other than Porgy, played by Morris Robinson. His voice sounded so rich in such a low register. It was perfect for the role. He brought the type of dramatic power that many think of as stereotypical for opera that other characters in this work just lack the capability of bringing. The way he sang “Oh Lawd, I’m On My Way” allowed the show to end in a triumphant manner musically, even if the storyline doesn’t match up. As incredible as the performance was, there are some negatives that have to be noted. The opera was about as interesting as a 4 hour opera can be, but at the end of the day 4 hours is a long time to focus whether one is watching or performing. In spite of this, the performance was fantastic and I would love to see UMS put on more productions like Porgy and Bess that can put student musicians from SMTD on stage with world renowned talent.
Anyone familiar with the Bible, and even those who aren’t, know the tale of Judas Iscariot, or are at least familiar with this name that has gone down in infamy. The Great Traitor. The ultimate betrayal. Beware of a Judas kiss.
But what if his story isn’t as simple as we thought? What if there’s a lot more to it? What if he’s not the sinner the Bible paints him to be?
Stephen Adly Guirgis unravels the life behind this character — this person — who is so commonly villainized and possibly misunderstood. With special appearances from St. Matthew, Mother Teresa, Sigmund Freud, Pontius Pilate, and, of course, Satan himself, the story of this court case questions exactly what it means to be guilty and what it means to achieve redemption.
SMTD is putting on a student production of this play that delves deep into the flaws of humanity and the decisions that are made. Come to the Arthur Miller Theatre on February 15-18 to watch Judas’s ultimate fate be determined. Showtimes are at 7:30pm, 8pm, or 2pm with tickets at $12 with a student ID or $20 for general admission that can be purchased at http://tickets.smtd.umich.edu/ or at the Michigan League Ticket Office.
For people of different ethnicities born in America, it can be difficult to embrace a culture that seems so distant and detached. Through a mix of traditional and modern Vietnamese dances at VSA’s sold-out cultural show, DVN, we followed the journey of Anna as she was immersed into a culture she struggled to identify with.
Traditional dance props included umbrellas, Northern hats, ribbons, lanterns, and fans, twirled and spun and thrown in ways that highlighted the beauty of a proud past unforgotten. This culture embraces these meaningful traditions, and that respect is translated through dances centered around these objects that hold significant history. Whether elegantly simple like the NQT dance or with fast-paced flairs like the Fan dance, and or a mishmash of everything like the Traditional Medley, the traditional dances gave Anna a firm grasp and better understanding of her family’s culture.
The modern hip hop dances reflected the changing of culture, a culture with its roots in the past but includes the times of the present. These dances definitely got the loudest cheers from the audience with their impressive moves. Their use of American and Vietnamese songs point to the mixing of American culture with others, especially found in the new generations born here; nonetheless, the power of these dances proves the ability for different cultures to adapt to new influences while retaining their originality.
Fan
Guy Hip Hop
B2Viet
Guy Girl Traditional
Guy Girl Hip Hop
Umbrella
NQT
Ribbon x Traditional Medley
With the interspersed schedule of traditional and modern dances, the energy never died down throughout the show. Also included was a fashion show displaying various Vietnamese traditional garments and a guest performance by Izzat that further promoted culture. The colorful light work added an extra level of spice and excitement. The emcee dialogue was cringeworthy and the jokes were dry, but most shows are like that. Anna’s journey set up the next dances nicely, moved the storyline along, and united the dances under a common theme — just like culture does.
The hard work of all the dancers, choreographers, behind-the-scenes workers, and especially the DVN board paid off last night as Anna successfully found her light by the end. The DVN show showed that “the culture is with you wherever you go” through the art of dance.
That’s the definition of the word flux. But it’s also a summary of Flux, Cadence Dance Company’s winter show.
With a collection of contemporary pieces set to a soundtrack of indie music, Cadence, a self-choreographed dance company, showcased more than just movement. They told stories with every piece, stories that changed and evolved as the dances developed.
Especially in their large-group numbers — which I preferred to the small-group ones — Cadence showed a willingness to take risks with their choreography. The opening number, “8 (Circle)” utilized unique formations and lifts to great effect.
The small-group numbers didn’t have enough dancers to use those formations, so several of them had more standard contemporary moves. That didn’t mean it wasn’t innovative, though. My favorite of the small groups was “All Night,” which featured stools as props.
Cadence was strong technically, especially when it came to their turns. There you could see the amount of rehearsal they put in; their turns were well synchronized even in complicated turn sequences. But at the same time, they didn’t overdo it on the turns.
However, my favorite technical aspect of Cadence’s dances were the lifts. Many numbers — especially the large-group ones — incorporated impressive lifts that at once showed grace and strength.
I was especially impressed with the finale, “Landfill.” The choreography was unique and affecting. The lifts and turns looked good. And though it was a full-company number, the end featured partner work. The partner choreography added to the meaning of the dance’s narrative about a toxic relationship. The two partners’ chemistry was such that it made you feel something. The number packed a punch and was the perfect ending to the show.
Cadence’s penultimate piece was called “Vor Í Vaglaskógi.” It was a senior number, a concept I haven’t seen from any other student groups. I liked the concept of giving the seniors one last number together, and that added more meaning to the movement.
That said, some of Cadence’s other numbers were somewhat forgettable. They weren’t bad by any means, but there was somewhat of a gap between the best numbers of the show and the others. I may have made the show a little shorter — putting more emphasis on the strongest numbers without really taking anything away.
The guest numbers — from hip-hop crews FunKtion and Encore, a cappella ensemble The Friars and tap dance group RhythM Tap — complemented Cadence nicely without overshadowing the main show.
All in all, Flux was an impressive concert that brought to the table things I haven’t seen from any other student dance group. Their passion for what they did shined through and created something unique and bigger than themselves.
The Vietnamese Student Association is back for their annual culture show, Đêm Việt Nam (A Night in Vietnam), filled with traditional and modern dances to showcase Vietnamese culture.
The show follows the journey of a young girl trying to find her truth with this year’s theme — Find Your Light: Đi Tìm Ánh Sáng. This entirely student run show has over 120 student performers with 10 different dances and guest performers.
Ticket prices are $5 presale, $8 at the door for UM students, and $10 for general admission. Tickets can be reserved here and will be on sale at the Posting Wall in Mason Hall from January 22nd to January 26th from 10am – 4pm. All proceeds will go to Pacific Links Foundation to support the sustainable development of Vietnamese communities such as combating human trafficking, enhancing children’s education, and empowering women to become leaders. Visit the Facebook event page for more information on how to get tickets.
The night of enlightening culture will take place on Saturday, January 27 from 7-9pm in the Lydia Mendelssohn Theater. Come on out to support an important cause and watch this story unfold onstage through the powerful language of dance.
