Category: Theatre

Preview: Macbeth

watsonsauce

National Theater Live: Macbeth Trailer

What: Shakespeare
Where: Michigan Theater
When: Sunday 27 October 7.00pm
How Much: $22

The Michigan Theater has been screening performances for London’s National Theater through out the fall. This production of Macbeth will be their final until February.

Starring Kenneth Branagh (Hamlet, My Week With Marilyn) and Alex Kingston (Doctor Who, ER) as Lady Macbeth. Directed by Rob Ashford and Kenneth Branagh.

Should be a thrilling production, the perfect way to usher in Halloween.

Review: Blur the Lines

Zoe Marie

Blur the Lines was a collaborative effort sponsored by SMTD Collaborative Student Assembly (CSA).
SMTD CSA’s Facebook
The performance was on October 19th in the Arthur Miller Theater at the Walgreen Drama Center. The cast was made up of student volunteers from several majors in the School of Music Theater and Dance. The goal of the event was to create, and perform, a one hour show in 24 hours.
Through Facebook promotion, Blur the Lines rounded up two volunteer composers, two writers, a director, several musicians, dancers, and actors, as well as PAT majors and a MUSIC THEORY major, to donate around 24 straight hours of their time to creating this show. First, the script writers and composers met at 8pm and wrote the show until 8am, when the performers joined in order to rehearse until the show started at 8 pm. Apparently this was the first year Blur the Lines had been organized, but I had no idea because the show was so put together, but it explains why so few people knew about it despite the Facebook efforts. However, I have no doubt, as the semesters progress, this will become a widely attended event.
BLURDALINES
It is honestly difficult to review the show because it’s such a unique situation for people to perform under, and it doesn’t seem to allow for much editing, which is arguably the most important part of the creative process. The concept of the show was supposed to be a day in the life of a person, starting in the morning, and ending at night. Honestly, that concept did not really come across. The whole show was made up of several, individual scenes about extremely varied topics. There was a scene with young love at the beginning and a scene revolving around a funeral towards the end but most of the scenes in between didn’t seem to have a strictly chronological order or revolve around time, like the theme suggested they would. The scenes also varied from great hits to scenes which could have benefited from much more editing. However, the show still had many great moments.
One of my favorite scenes was a monologue about a “Magic Girl”. I enjoyed the writing, which was very memorable, and the staging, which was active enough to hold the audience’s attention, while still complimenting the text, and music, instead of distracting from them. The scene following was also enjoyable, and extremely relatable for anyone who has grown up in a religious family, but is atheist. This monologue described how a person, forced to attend Sabbath every weekend with their family, struggles with a lack of ability to spiritually relate to the ceremony in a life “measured in Sabbaths”. The most entertaining scene was a monologue spoken by a girl about her desire for emotional and physical contact. What made this scene so unique was her “duet” with the violinist, who would respond musically to her advances, and eventually broke up with her. The two dancers in the cast also had a modern dance segment, which was very beautiful.

Honestly, what I recommend even more than seeing Blur the Lines next semester is PARTICIPATING in it. Everyone involved had the absolute time of their life and learned so much about themselves, and the creation process, no matter their major. It was also a great way for students to bridge the gap in SMTD, which is a school very separated by majors. But, what will lead to an even better experience is that the organization is planning on expanding it’s reach to the whole school, not just SMTD. I urge you to like SMTD CSA on Facebook and keep in touch about when the next Blur the Lines will be. This is an event which can only be made better by a bigger variety of student involvement, so I really hope you keep this on your radar and at least attend the next performance to see if you would like to get involved in it!

REVIEW: Taous

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Taous

Just before Fall Break, The Center for World Performance Studies hosted an incredible guest artist by the name of  Taous Claire Khazem. The actress/activist performed a one-woman, self-starring theatrical performance called “Tizi Ouzou.” Named for the real life town in Algeria from which her father’s lineage descends, the play recounted the tales of ten imaginary emigrants or citizens of the mountainous village, exploring their struggles, values, dreams, disappointments, and distinctions. Taous created each character using simple props: a pair of shoes, a scarf, a coffee cup, a cane, or a pair of glasses, a cigarette. The set was bare, so the only way to enter the story  was through the performer’s movements, utterances, and expressive behaviors. It was astounding how developed each character became as Taous donned the accessories that defined the separate story lines. The cast included an old man who believed the cultural revolution of thirty years previous was current news; a young woman who wanted to move to America and find a basketball player for a husband; a sweet French girl who had fallen in love with an Algerian man; a grandmother who bakes bread and doles out unsolicited life advice; a religious teenager; a travel agent with strong opinions about Algerian men, and many more. In a question and answer session following the performance, Taous declared that each character had been adapted from real-life counter parts. Her personal history of immigration, multi-cultural values, language barriers, and even discrimination came alive in this animated narrative. Though the plot is specific to French-Algerian culture, it somehow felt relatable to the entire audience. The characters she developed are archetypal and familiar. Their challenges and triumphs are pertinent to nearly any group of people in the world, particularly those who have crossed country lines in their lifetime. The characters felt close to heart, though they are from a far off land called Tiz Ouzou.

For more about events hosted by The Center for World Performances, click here. For info on Taous, click here. See you next time!

REVIEW: A Little Night Music

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Stephen Sondheim and Hugh Wheeler’s classic musical A Little Night Music is brought to life in a new production by the School of Music, Theatre & Dance. A Little Night Music presents the story of long lost lovers Desiree Armfelt and Fredrik Egerman, who, after 14 years, 2 children, and 1 new marriage find themselves together again. Of course life, and love, is never simple and this play seeks to discover what happens when the past and present collide during a summer weekend in the country.
Although slow to start, A Little Night Music found its stride during the very end of the first act and presented an interesting reflection on the nature of love and what can happen when love is lost but not forgotten. The strength of the production was the portrayal of the two leads, Desiree (Eleanor Todd) and Fredrik (Conor McGiffin), and the humourous supporting couple Count Carl-Magnus (Elias Wygodny)  and his wife Charlotte (Jordana Grolnick). Todd and McGiffin had great on-stage chemistry and the ease with which they bantered and laughed with each other made all of their scenes together extremely enjoyable. Although they represented a different kind of love, the characters of Carl-Magnus and Charlotte were similarly fun to watch. Wygodny’s portrayal of jealous lover and mostly proper soldier Carl-Magnus was intriguing and humorous, and Grolnick’s deadpanned depressive one-liners provided a hilarity that often stole the scene. Together Wygodny and Grolnick presented a wonderfully amusing couple who shone in every scene they were a part of.
While the music was mostly enjoyable and the bits of witty dialogue were definitely appreciated, the overall production was not completely compelling and oftentimes I found myself wishing we were at the closing number. The plot itself was rather predictable and there were moments full of exposition and almost no action, which made it hard to be fully invested in what was happening onstage. Although not all of the cast’s individual performances were as strong as the leads, they did perform well as an ensemble, which made up for some of the awkward and duller moments.
Overall A Little Night Music was an interesting production. Although somewhat predictable, it did have humourous moments and some well sung songs, including the most recognizable “Send in the Clowns.” I’m glad to have seen it once, and am looking forward to see what the School of Music, Theatre, & Dance do next.

The School of Music, Theatre & Dance, brings Stephen Sondheim and Hugh Wheeler’s classic musical A Little Night Music to life in a new production. A Little Night Music presents the story of long lost lovers Desiree Armfelt and Fredrik Egerman, who, after 14 years, 2 children, and 1 new marriage find themselves together again. Of course life, and love, is never simple and this play seeks to discover what happens when the past and present collide during a summer weekend in the country.

Although slow to start, A Little Night Music found its stride during the very end of the first act and presented an interesting reflection on the nature of love and what can happen when love is lost but not forgotten. The strength of the production was the portrayal of the two leads, Desiree (Eleanor Todd) and Fredrik (Conor McGiffin), and the humorous supporting couple Count Carl-Magnus (Elias Wygodny) and his wife Charlotte (Jordana Grolnick). Todd and McGiffin had great on-stage chemistry and the ease with which they bantered and laughed with each other made all of their scenes together extremely enjoyable. Although they represented a different kind of love, the characters of Carl-Magnus and Charlotte were similarly fun to watch. Wygodny’s portrayal of jealous lover and mostly proper soldier Carl-Magnus was intriguing and humorous, and Grolnick’s deadpanned depressive one-liners provided a hilarity that often stole the scene. Together Wygodny and Grolnick presented a wonderfully amusing couple who shone in every scene they were a part of.

While the music was mostly enjoyable and the bits of witty dialogue were definitely appreciated, the overall production was not completely compelling and oftentimes I found myself wishing we were at the closing number. The plot itself was rather predictable and there were moments full of exposition and almost no action, which made it hard to be fully invested in what was happening onstage. Although not all of the cast’s individual performances were as strong as the leads, they did perform well as an ensemble, which made up for some of the awkward and duller moments.

Overall A Little Night Music was an interesting production. Although somewhat predictable, it did have humorous moments and some well sung songs, including the most recognizable “Send in the Clowns.” I’m glad to have seen it once, and am looking forward to see what the School of Music, Theatre, & Dance does next.

REVIEW: Audra McDonald

Kayla Silverstein

Vocal perfection? Thy name is Audra McDonald.

This evening, I had the absolute pleasure to hear Audra McDonald perform for the second time in the always amazing, Hill Auditorium. She began the first half with several numbers that were classically-Audra but never overused: “Stars and the Moon,” “I’ll be here,” “When did I Fall in Love” to name a few. Some interesting new additions, at least for me having seen her two years ago, were a moving rendition of the classic, “Somewhere Over the Rainbow” as well as a number from the not-too-popular Kandor and Ebb musical Steel Pier entitled “First You Dream.” The latter was dedicated to her father who sadly passed away in a plane crash, a plane he was piloting himself. The song is sung by the main character, a pilot who dies but doesn’t yet know he is dead. His final piece of advice to the woman he is trying to inspire is a clear message on how to begin: “first you dream.”

With a rousing first half, it was hard to imagine anything could be more impressive. Of course, Ms. McDonald never begins something to finish with anything less than her best. With her on stage for the second half came the entire University of Michigan Music School Orchestra to back her up in a slew of Gershwin songs, paying tribute to the new pact between the Gershwin family and the University of Michigan. This new collaboration project with provide a collected and accessible database of Gershwin repertoire, complete with original manuscripts and composer notes. Judging by the gasps of excitement from the Musical Theatre majors I was seated around, I’d say this is more than fantastic news for wolverines cravin’ that Gershwin swing.

What a fantastic performance by a truly special talent. I feel incredibly fortunate to have had the opportunity to see Ms. McDonald perform once again while here at Michigan. She’s a goddess in her own right and knows how to wield the amazing gift with which she’s been blessed.

REVIEW: Audra McDonald & the University Symphony Orchestra

Thor

Two years ago, I first saw Audra McDonald do a concert in Hill Auditorium. It changed my life in a way that few other performances have.

Today was largely a reprise of that night, with a few changes. Two years ago, Audra sang alone for more than two and a half hours with only her accompanist, Andy Einhorn (who deserves his own standing ovation for his incisive skill, his endlessly fascinating arrangements, and his wondrous musical expression). Today, the single piano was just the warm-up act. Our very own University Symphony Orchestra joined her for Act II, and for me, that was the true glory of the afternoon’s entertainment.

Now don’t go thinking that I was disappointed by Audra and Mr. Einhorn; quite the contrary. I wrote a few days ago that Audra is one of the most sensational performers alive today, and I stand by that statement after today’s show. What interests me is that I was expecting Audra’s glory to carry the entire show. I expected the USO to be a bit of an afterthought, mere accompaniment to her incredible instrument. I did not expect to take my eyes off Audra at any point during the performance. Why did I? Why, at some moments, did I simply close my eyes and listen rather than watch? I’ll give you a hint: nearly all of those moments were in Act II.

The thing is, Audra is sensational. I knew that going in, and I got exactly what I was looking so forward to. But I got something else, too. Before Act II “really” started (the entr’acte, a Gershwin medley, in the words of Mark Gershwin, was “one hell of an overture”), Ken Fischer (UMS President), Christopher Kendall (SMTD Dean), Mary Sue Coleman, and Mark Gershwin, nephew of George and Ira (do you see where this is going yet?) collectively made a huge announcement:

The estate of George and Ira Gershwin are entering into a collaboration with the School of Music to produce the very first Critical Edition of the works of George and Ira Gershwin. What does this mean, exactly? If I understood correctly, it means that our very own School of Music will be given access to original manuscripts and all sorts of scholarly material in order to produce accurate and stylistically faithful recordings of the entire Gershwin canon of music. This kind of thing is essentially only done for the true masters of music, and largely it is done for classical composers like Beethoven and Mozart. (According to Wikipedia, they are also sometimes called “Complete Works.”)

Audra then proceeded to sing, accompanied by the USO, Gershwin song after Gershwin song, for the entire second act. This is why I spent nearly half the concert with my eyes shut: so that I might drink in more of the Gershwins’ glorious music. In a way, it was eye-opening. Our culture of celebrity worship sometimes has a tendency to make us lose a little perspective. I love and adore Audra and her work, but for me, starting in Act II, the concert became not about her, not even about George and Ira Gershwin themselves, but rather about the music – the most profoundly American music ever written. So I laid back and let the music wash over me like a warm bath.

After the stunning second act, needless to say, the entire auditorium was on its feet, practically begging for a second encore.

It never came. That’s the sad thing about great performances: they never last. But great works, like those of the Gershwins, do last, and I’m incredibly happy that our very own university is being given the opportunity to make George and Ira’s work truly immortal.

I admire Audra for many reasons. Audra’s stage presence is marked by a genuine generosity of spirit. She is never self-indulgent; a lyric she sang goes: “Fame, if you win it/Comes and goes in a minute.” The song is called “Make Someone Happy.” It’s all about selfless love. She said to us point-blank that when she does (musical theatre) master classes across the country, and people ask her which schools she recommends, that she says “Michigan” first. I think I know why: Michigan doesn’t just produce outstanding performers; it produces outstanding people, the kind of people who take the time to make someone (or many people) happy, even if it’s a full-time job.

I’ve never been prouder to be a Wolverine than I am today.