Get ready for an evening of laughs, splitting sides, and rolling in the aisles! Friday, March 19th at 8 pm in Angell Hall is another ComCo show. ComCo is an on-campus student improv group. Their performances are always fun, energy filled, and witty.
ComCo Flyer
Not one to miss a chance to crack a joke, even the title of ComCo’s shows are funny. Friday night’s performance is called “Registered Orphan Donor”. In the detail section of the comedy group’s Facebook Event orphan donation is described as “the process of giving an orphan or a part of an orphan for the purpose of transplantation into another person”. Further it describes the donor registry and how professionals match donors to patients. Read the ridiculous pun and it’s full description here. After a long week, reward yourself with some laughs!
RECAP: ComCo Presents: Registered Orphan Donor on Friday, March 18th at 8 pm. Event is located in Angell Hall Auditorium A and tickets are $2 at the door.
Wednesday night, a fair sized group braved the cold and slippery roads to see National Theater Live’s screening of Les Liaisons Dangereuses. A stunning play in it’s honesty, brutality, moral ambiguity, discussion of sex and pleasure, it creates just as complicating and deep feelings in its audience.
The set for this production, performed within the Donmar Warehouse, perfectly complimented the theater’s space. With an audience on three sides of the stage it created a sense of forced intimacy that reflected the idea of confinement some of the characters grapple with. The set pieces themselves were fairly minimalist with one chase, a harpsichord, a few chairs and a changing array of paintings. The walls of the space, which simply became a different room in a different house based on the arrangement of the limited furniture, looked as if they belonged in the paintings themselves, they were so artfully done. The colors were warm but not flashy and lit by candlelight they added to the intimate feel. Because, yes, this show was lit largely by candlelight. There were chandeliers with rings of candles on them, that lowered and rose as the amount of light was needed. Actors carried around large candlesticks in evening scenes, just as they would have in the pre-French revolution period that the show is set in. The dramatic lighting and sharp contrasts this provided really highlighted the betrayal and intrigue that is the at the heart of the production.
(I will not be talking about the show scene by scene but there may be some SPOILERS for those who have not seen the play)
Photo Credit (from UMS website): Johan Persson
This visual beauty was equally matched by the chemistry of the two leads. Janet McTeer and Dominic West, who play La Marquise de Merteuil and Le Vicomte de Valmont respectively, were both stunning. They were flirtatious, scornful, malicious, tender, brutally honest, humorous, and charming; usually all at the same time. At first their relationship was so much fun and it was the never-can-be-quite- platonic relationship of old lovers. Which just added a feeling of excitement to all their interactions. But it seemed for the most part, their cruel game of seduction and wits was more the reason for their friendship than their attraction for each other. That and the always lively banter.
Janet McTeer was especially striking. Dominic West left nothing to be desired; he played the charming bad boy with ruckus charm. No, it’s simply that I found the story and development of his character less intriguing. As a modern audience member, and I have no doubt in almost any period, I felt I’d seen it all before: the man who likes to sleep around but never really finds love in his string of lovers till one woman “changes” him and he gets in over his head. On the other hand, La Marquise de Merteuil in her time, and even now, was extremely fascinating. McTeer really made the character her own, capitalizing on opportunities to incorporate real humor, not even just malicious amusement, into La Marquise.
Photo Credit (from UMS website): Johan Persson
La Marquise used her knowledge of the patriarchal system to manipulate people, not just men, for her amusement and pleasure. She was able to find agency and, as she pointed out, it is necessary for women to be more skillful in this than men. While at first amazing and amusing, her ability and commitment to this manipulation slowly grew more and more disturbing. At one of my favorite lines of the show La Marquise said “I was born to dominate your sex, and avenge mine”, McTeer was particularly scary.
While I enjoyed that line, and still do frankly, I find its place within the show interesting to say the least. While for a time to a viewer this might appear true, as the play progresses and her obsession with revenge on an old lover and fear that Valmonte may no longer love her, slowly lead the audience members to question how she thought she was avenging anyone but herself. The same holds true for Valmont, though he proved less adept to the game. Perhaps the first very disturbing example of this was when, in Valmont’s seduction of the innocent
Photo Credit (from UMS website): Johan Persson
Cecile, he forced himself on her, telling her she couldn’t go to her mother because this could ruin her reputation. When Cecile confided in La Marquise about how upset she was and about her feeling of being violated, La Marquise told her basically to snap out of it. We got the sense that Cecile is supposed to be honored that she was being enlightened, and by such a master of the science of “pleasure”. Both of the main characters roles in this affair were extremely problematic: First, Valmont raping Cecile is very different from willing bedding a lot of women and showed a very different side of his character (even if this time period didn’t define rape as we do today). It’s the first time we saw some of the power he enjoyed exercising, so clearly. Secondly, by condoning and actually encouraging this interaction to both Valmont and Cecile, how was La Marquise avenging her sex by putting its fellow members at the mercy of men who could overpower them?
The next instance when audiences really realized La Marquise had lost it washer basically demanding that Valmont leave the women he loves. She has begun to realize Valmont actually loves his latest conquest and La Marquise’s jealousy is overpowering.Things advance and his latest conquest ends of being one of the many lives she ruins. Janet McTeer’s portrayal throughout this was natural and deceptively cunning, after her character; at moments her power of the stage and her character’s of the situation were daunting.
One thing I missed until the show basically threw it in my face, was the very numerous appearance of cards. They were used as prop pieces throughout the entire show, whenever someone needed to be busy in a corner. A card game actually opened the show. At the end, the last scene is done with the remaining women holding cards, “playing” a game, and that’s when I connected the dots. It’s really ingenious because the whole show was about people playing their cards and hoping they could outmaneuver the other’s cards. This final scene, with the women holding the cards, was also the moment when La Marquise was unable to deny her defeat. All her maneuvers had been for nothing. The vanity, savagery, and jealousy, with copious amounts of humor, blended into a delicious game whose story will keep audiences enthralled for many more years to come!
National Theater Live brings scandal to the Michigan Theater, in the form of Christopher Hampton’s award winning play, Les Liaisons Dangereuses. Wednesday’s screening is a recording of a National Theater’s live performance of the play in London. This production marks the thirty year anniversary of the play, which is directed by Josie Rourke and stars a cast of Elaine Cassidy, Janet McTeer, and Dominic West.
Originally a novel by Pierre Choderlos de Laclos, it was adapted by Christopher Hampton in 1985. It was first performed by the Royal Shakespeare Company with a cast that included the late Alan Rickman as the Vicomte de Valmont. It has been adapted into a film as well, titled Dangerous Liaisons that starred Glenn Close, John Malkovich and Michelle Pfeiffer.
Photo Credit: Johan Persson
Les Liaisons Dangereuses is a story of intrigue, sex, morals, and manipulation. Set in pre-revolutionary France, the play follows the lives and rivalries of a group of aristocrats. As scandalizing as when the novel was first released, the play is sure to leave audiences amazed.
The screening at Michigan Theater is Wednesday, February 24th at 7:00 pm. Tickets are $22 for adults and $12 for students. The show has a runtime of 3 hours, that includes a 15 minutes intermission.
Saturday night the RC Players presented “Red Eye”, their 24 hour theater spectacular. During the last 24 hours the members wrote, produced and rehearsed two original shows, so that by 8 pm they were ready to perform. Well, almost. Due to technical difficulties the show didn’t begin until almost 8:30 pm. Though they played catchy tunes, by the time it started the audience was getting a little restless.
The performance got underway with a piece called “Berning the Matriarchs”. And yes, Bernie Sanders was featured as the kidnapped president. In addition, this show drew on a wide collection of female symbols of American nationality (our matriarchs), as well as a slightly confusing “Batwoman”, to create a play that was against corporations and pro Bernie Sanders. In an almost counterproductive measure the villain of the story was also a woman, who fought against the “matriarchs”. The person who saved the day was a man named Carl; he just wanted to dance and not get pushed around by the mean matriarchs anymore. It was a funny show that incorporated a lot of chicken based puns (which makes since because the villain was a half-chicken woman…I think), political riffs, and elaborate dance moves. While I don’t think the show was as feminist as it was trying to be, as none of the women in the show were characters I could root for, it definitely promoted sexual orientation inclusivity (two of the matriarchs finally admitted they still had feelings for each other), and smashed big businesses, namely KFC.
These seemed to be the common themes of the night. In “Love is a Battleship”, the show consistently put down the Bath and Body Works franchise and ended with two women getting married. The story consisted of an interesting combination of mice and men (this allusion was mentioned in the show) and women. And a cyborg named Boobies. It capitalized on physical humor at moments while also still getting to its message about freedom and acceptance. No character exemplified this more than the Owen Wilson impersonation that just about stole the show. Performed by Sara Head, her Wilson, his daddy issues, and the repeated catchphrase of “woooow” had people rolling in the aisles.
Overall, despite the slow start, it was a fun evening! “Red Eye” continues to show the amazing amount that one can accomplish in just 24 hours and I can’t wait to see what they turn out next semester.
For three hours, two nights in a row, Taylor Mac captivated audience with some “Radical Faerie Rituals” — where judy takes the lead and “controls” the audience. The result was a room full of people being uncomfortable, challenged, and educated. (Taylor Mac uses “judy” as a pronoun.) Taylor’s superb theatrical and musical talent, as well as the band’s virtuosity and the design team’s impressive creation of visual elements, made these nights very memorable and enjoyable.
On February 5 and 6, Taylor Mac presented “A 24-Decade History of Popular Music: 1956–1986” at the Mendelssohn Theater. This project looks at music popular in the United States from 1776 to 2016, and with each of these 24 decades, Taylor features stories of various marginalized communities. In October, this project culminates in a 24-hour long concert (or “ex-tra-va-gan-za” as Taylor would say), one hour per decade.These performances comprise of many things: history, activism, identity politics, drag, Elizabethan fool, glitters, and of course, popular music. Ann Arbor audiences enjoyed the workshop version of Act VII, consisting of three decades: 1956-66, 1966-76, and 1976-86. In addition to that, Taylor Mac, musical director Matt Ray, and designer Machine Dazzle did a residency for a week, where they visited various U-M classes, served in panel discussions, and facilitated workshops.
I must admit that I might be just a little biased about Taylor. I had an internship with UMS and SMTD, with which I was able to work with judy and Pomegranate Arts, an independent arts production group. During my two months there, I observed five shows and a couple of rehearsals. Because of this, the visit to Ann Arbor by the band members and production team felt like a reunion. (Read about my experience here.)
I also experienced these performances a bit differently from the regular audience members; I was one of the four “Dandy Minions” — I guess you could call us stage hands with lots of costume and makeups, offering some dandy help to Taylor. We were part of the visual element to the show, with our own “drag.” It was SO much fun to make a fool out of myself with three of my wonderful co-Minions.
Ann Arbor Dandy Minions!
When you walk into Taylor’s performance, you realize it’s not a typical performance. You’re walking into Taylor’s church. And in a church, you listen to the preacher — because the preacher has pretty darn good things to say about identities, activism, and history through music. Also, it’s much more fun if you challenge yourself to get out of your shell and let yourself do whatever is being asked. I remembered the excitement that I first felt with Taylor’s performance back in June 2015; I believe and hope that the audience members from those two nights got the same chills I got.
This weekend I attended Basement Arts’ production of “Closer”. Settling into my straight black plastic chair in the Walgreen Drama Center’s Acting for the Camera Studio, I looked around at the set. It was sparse and had a minimalist vibe that fit my expectations for an edgy, content driven play.There were two projectors (admittedly sitting rather awkwardly at the front of the stage, dead center), two screens, a couple chairs, a few square stools, one table, and some odd and end filler pieces.
Photo courtesy of Basement Arts CLOSER event page
Considering the intimacy of the small studio, a minimalist set was a practical option. The space contained only 40 seats total, lining three of the four walls so the play was almost in-the-round. This venue worked for the story, which had only 4 characters whose lives interconnected more and more intricately as the play went on. Certain scenes had all characters on at once, usually acting out two separate scenes within the same space. As an audience member I felt and saw for myself how trapped the characters felt. My favorite scene, and use of space in the show, was when Anna is telling Larry she’s leaving him for Dan. Dan is simultaneously telling Alice he’s leaving her for Anna. Alice runs from the room and Dan dashes after her right between the argument Anna and Larry are having; he was both physically and figuratively coming between the couple. It was a moment of symbolic genius.
Throughout the show props were brought on and off by the actors as they sat unobtrusively in seats at the corners of the stage when not performing. As there were no wings, they occasionally changed clothes discreetly in their sideline seats for the next scene. They also played an important role in setting lighting for the show. Between scenes they quickly clicked on and off living room light fixtures, the mellow illumination adding to the intimate vibe.
Despite pictures being projected on the screens to give us a sense of place, it was often very confusing as to when they were. The play spans a significant length of time, with characters changing their romantic partners on a rotating basis, making it all the more complicated to gauge when a situation was occurring. There would occasionally be line references but at that point in a scene I was usually too far into the dialogue and lost as to how much time had passed. While the previous scene might have taken place within a day, the next might not be until a year later. A simple fix, I believe, would have been to use the projectors a bit more and add a date in the corner of the scene’s image.
This difficulty with the conception of time also made the few flashback scenes in the show doubly difficult. There was no change in the actors’ personas when a flashback occurred and with the already ambiguous time frame, it was a game of guess work with the audience as to what made up the flashback and what was happening in “real” time.
Photo courtesy of Basement Arts CLOSER event page
As to the show’s actual content, I wanted it to be more feminist than it was. Women were treated, as Larry stated in the show, as the valued “territory”. The women pursued the men just as avidly as the men pursued the women but there was a sense of uneven power (weighted in the men’s favor) that pervaded the play. While its depictions of sexuality, desire, and relationships were refreshingly frank, Patrick Marber, the playwright, looked only through the lens of heterosexuality. While one can’t expect a single play to do everything, I personally feel Marber’s message about love and sex could have benefited from some diversity.
Those, however valid, are script critiques and not matters of performance choices. This show did give both women and men some agency and freedom to express sexual desire. Though it cast a slightly ghastly portrayal of humanity’s carnal nature, there was also a lot of humor splashed throughout the play. The cast really capitalized on those moments, almost springing them on us with their casual delivery, and made them all the more surprising and delightful because of their unemphasized delivery. Some of the humor wasn’t even lewd or morbid.
It was not a happy play and by the end of it I was emotionally exhausted. Because of this, I consider the cast’s performance a success. There was chemistry among all four actors. The sex, betrayal, lies, frankness, and brutal honesty of the show were handled by an unflinching cast. They tackled the gritty nature of this play with an odd eagerness; perhaps because it allows us to voice and actually discuss some of the taboo subjects about life and love society has decided we shouldn’t.
Check out this video with some highlights from the show!
