Category: Theatre

REVIEW: Menopause the Musical

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Menopause the Musical is about four women who are, unsurprisingly, in menopause. They each have distinct backgrounds, such as being a housewife, a failing celebrity, a businesswoman, and a hippy. They meet at a mall while shopping and fighting over the lingerie on sale. Despite their differences, they soon after quickly bond over the changes taking place in their bodies, proving that all women can relate to one another during this difficult time in their lives.

Each of the actors perfectly embodied their characters’ personalities from the way they walked to their accents. There wasn’t a strong emphasis on dancing; instead, they focused on singing an interesting selection of music with a wide variety of genres ranging from In The Jungle, The Mighty Jungle to Y.M.C.A.

It was funny being one of the few, if not only, college students in a crowd of elderly white women. Obviously, Gen Z isn’t the target audience so I didn’t understand the references regarding menopause (e.g., memory loss and hot flashes), and didn’t resonate with the humor. However, the crowd certainly loved it and it felt like there was never a pause of laughter. In fact, I heard people talking about having watched different renditions of this same musical.

The venue was the Michigan Theater, in which I’ve only watched movies or orchestral performances. The stage was beautiful and the crew did an excellent job of making it look like a high-end shopping center. Unfortunately, the audio of the microphones wasn’t very loud or clear. The backtracks of the songs were often louder than the singers and that did take away from the experience.

To be honest, I wouldn’t watch this musical again and don’t recommend it. Although it was impressive and interesting to watch, the ticket was very expensive and wasn’t worth the cost. Still, if you’re intrigued you can give it a shot!

REVIEW: The 25th Annual Putnam County Spelling Bee

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SMTD’s performance of The 25th Annual Putnam County Spelling Bee was so good: it was immersive, hilarious, and well put together. It sounds like it’d be a wholesome musical since the main characters are children but to my surprise, it wasn’t child-friendly at all. The script made use of sexual innuendos, exaggerated stereotypes, and religious satire to crack jokes. The audience, me included, ate it up. As described on the SMTD website, it truly is a musical that “charms audiences with effortless wit and humor, making the Bee one unforgettable experience”.

One part of the experience I loved was how they included the viewers in the spelling bee and gave each of them fun and quirky personas, such as “being raised by wolves” and having “denim as their favorite color”. The actors looked so natural when interacting with the audience members that it took me a bit to realize it wasn’t staged. If the participants spelled their given word wrong, they were escorted off the stage with a juice box and were serenaded with the song Goodbye that poked fun at their failure in the bee. The funniest part was when to proceed with the plot, it became time to kick the surviving participants off the stage by challenging them with ridiculous words. Despite their efforts though, one of them actually managed to spell something incomprehensible from a Scottish dialect, shocking everyone. The actors did a great job of improvising by calling her back to the microphone and giving her another word, which this time she failed to spell. As a reward for being the last one standing though, she got her own special rendition of Goodbye sung to her. 

The characters that stood out to me the most were William Barfée, a snotty (quite literally) nerd, Logainne Schwartzy, a girl with a heart of gold, and Leaf Coneybear, who for some reason always had to spell the names of South American rodents. However, my favorite character was actually Vice Principal Douglas Panch. The actor did such a good job of portraying the classic slightly odd and suspicious adult figures I remember from my own elementary school days. Although these characters left the biggest impression on me, I genuinely loved everybody because they all had so much personality to them.

An inconvenience though is that it took place at The Encore Musical Theatre Company, a performance venue in Dexter that’s an eighteen-minute drive from central campus. Once I got there though, I realized how big of a role the stage set-up and background played in really bringing this musical to life. Most importantly when performing Pandemonium, a song and dance that really showcased the crazy and wild side of children. They were running around, jumping on tables, spinning seats, and even hanging from the basketball hoop. 

This was truly a musical I’m so lucky to have seen, and I highly recommend others to see it if given the opportunity!

REVIEW: Orpheus in the Underworld

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Orpheus in the Underworld (translated title) marks the premiere opera this season for the School of Music, Theater, and Dance’s vocal department at the Power Center for the Performing Arts. This runs for one weekend only, so get your tickets soon! Of the many versions of Orpheus and Eurydice’s tragic tale, this reigns as the goofiest production thus far. This whimsical satire is accompanied by fanciful costumes, a wholly creative set, and an ingenious allegory about the nature of capitalism. Director Mo Zhou brilliantly stated: “[Orpheus] is a mirror that reflects not only the capricious antics of the deities but also our contemporary world. It teases out the subtleties and complexities within the upper echelons of society, a world painted in various shades of grey.” (I don’t think I could give a more brilliant explanation if I tried!) I thoroughly enjoyed this opera and thought it was a refreshing choice after last season’s close with Don Giovanni by W.A. Mozart. If opera-singing and can-can-dancing Greek gods are an interest of yours— this opera is for you!

Orphée aux enfers is a French-language opera composed by Jacques Offenbach with a libretto by Hector Crémieux and Ludovic Halévy (English translation by Jeremy Sams). You may be familiar with the famously known and cheekiest song from the opera, the “can-can”, which is often used in pop culture. In the score, it is called the “Galop infernal,” roughly translating to “the hellish gallop”, as they famously kickline in Hades’ Underworld. This opera is conventionally all performed in French, but for this version, all the dialogue was performed in English with arias performed in French. I came into the performance skeptical of this method for continuity’s sake but left the theater agreeing with the decision for a predominantly English-speaking audience. Since many of the performers were native English speakers, it was much easier to make conscious acting choices since they were not dealing with French diction. For an academic setting, this was a great choice! The arias were beautifully performed in the original French, with phenomenal, stand-out performances by Tyrese Byrd (Arsteus/Pluto), Jack Morrin (Jupiter), Sohyun Cho (Eurydice), and Veronica Koz (Cupid). The chorus was equally thrilling and brought a beautiful liveliness to the atmosphere of the show.

The design for this show was spectacular. Scenic design was created by Kevin Judge, costumes by Sarah M Oliver, lighting by Marie Yokoyama, and hair/make-up by Brittney Crinson. Truly, there was always something to look at, or a small detail to become enamored with. Each tableau filled the entire space on the Power Center stage. Within the first moments after the curtain, the set had transported me somewhere. The world that was about to be created was immediately understood by the audience. The colors, dimensions, and vintage image backgrounds were all so charming. The 1950s setting was a very lovely stylistic choice, and I found it well executed throughout. The style was consistent between direction and design choices and these ideas flourished well throughout the show’s tableaus and costuming changes. SMTD has an undoubtedly polished and impressive design team, consistently dazzling audiences with their work on University Productions.

Orpheus in the Underworld was directed by the infamous Mo Zhou, who is fairly new to the School of Music, Theater, and Dance, having joined as an opera director and assistant professor in 2021. Ms. Zhou is greatly appreciated by the opera community for her innovative and fresh ideas in beloved classical works. She has a decorated resume and has worked with renowned classical music programs such as Glimmerglass and Music Academy of the West. She has worked domestically with the Virginia Opera, Minnesota Opera, Boston Baroque, Lyric Opera of Chicago, Houston Grand Opera, and Dallas Opera. Additionally, Professor Zhou has extended her skills to international levels, working with the National Centre for the Performing Arts in China, Staatsoper Unter den Linden in Berlin, and Elbphilharmonie in Hamburg, Germany. Ms. Zhou’s direction is playful, methodical, and keen. Orpheus was a testament to her brilliance—she created beautiful tableaus and effortlessly hilarious yet dramatic moments between characters. I admire her attention to detail in world-building and the thoughtful intentions behind each character. 

Orpheus in the Underworld proved to be a hit this Friday at the Power Center. There will be performances on Saturday, November 4th at 8 pm and a Sunday matinee on November 5th at 2 pm. Up next for the voice department will be Gianni Schicchi, the hysterically scandalous Puccini opera. This will be performed in McIntosh Performance Hall in the Moore Building on North Campus, on November 30th and December 1st. 

Images thanks to The University of Michigan and the School of Music Theater and Dance Facebook.

REVIEW: The Rocky Horror Picture Show

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The Rocky Horror Picture Show is an internationally appreciated cult classic musical film, often performed around Halloween. The hit movie (and musical) held two performances this past weekend at our very own Michigan Theater. I was lucky enough to catch their annual performance on Saturday at 9:30, and it lived up to every expectation as an absolute riot from start to finish. It’s a lively and goofy movie with notable characters like the innocent Brad and Janet, thoughtless yet sincere Rocky, and the tremendously memorable transvestite, Frank-N-Furter. This performance is absolutely an 18+ experience, with many sexual innuendos, violence, intense language, and adult themes (which is no surprise if you know the show). The film has the longest-running release in film history and was even adapted again into a more modern TV film in 2016 on Fox. Forty-eight years later, the film still plays in theaters all around the country, often with a live amateur ‘shadow cast’ that mimes the actors on the big screen. There were shouts and roars from the costumed audience of classic lines to be accurately called out at certain points in the film. It is not your average ‘night at the movies’ at all…

The film was released in the fall of 1975 in the UK and USA. It was directed by the Australian director Jim Sharman, who was widely known for producing many kinds of experimental theater. He has a decorated list of theatrical directing credentials from across the world, with a few major films that hit the theaters through the 70s. The screenplay was adapted by Sharman and the UK’s own Richard O’Brien based on O’Brien’s original 1973 musical. The musical premiered that year in the UK, including the iconic Tim Curry, who reprised his role as Frank-N-Furter in the 1975 original movie. The first West End cast performance was dubbed a ‘creative and commercial success’. Initial reception to the film, however, was extremely negative, but it later became a hit as a ‘midnight movie’ that aired late into the evenings on television stations, and from there, a quintessential cult classic. 

The Rocky Horror Picture Show is understood to have been a great influence on countercultural and sexual liberation in the 1960s and even today. It was one of the first popular musicals that depicted fluid sexuality during a time of generational divisiveness and growing advocacy for LGBTQ+ rights. Today, this continues to be true as queer folks work to create more LGBTQ+ friendly space in the arts, and annual productions of Rocky Horror reinforce the necessary space yearly through this vessel. This precedent is set by the characters in the show: they are not confined by gender, and many different identities of performers take on the ‘shadow cast’ roles, keeping the show undoubtedly fresh. The “look” of each character does stay consistent, their costuming/hair and such, but many things can and have been adapted in various performances. Historically, the costuming of the show affected the development of many punk rock fashion trends, with colored hair, fishnet stockings, and colorfully flamboyant make-up. 

The ‘shadow cast’ of this production did a fantastic job of depicting the drama on screen. A ‘shadow cast’ is not something that is often seen in movie theater settings, so it was a lot of fun to experience. It was difficult to light the actors because the movie playing right behind the stage, so often it was hard to see. However, the energy of the acts was understood from the back of the house, and their exuberant costumes filled the space left by a lack of set. I commend these folks for their accurate and entertaining work as the ‘shadow cast’ of the film, and their commitment to the tradition of Rocky Horror! 

The Rocky Horror Picture Show is a must-see musical film and a hilariously memorable experience. I sincerely enjoyed the performances from the ‘shadow cast’ and seeing this movie for the first time in theaters. The actors and the crowd were absolute pandemonium, and I enjoyed my time from start to finish. The experience in theaters is a unique one, and I would urge folks interested to make an evening of it and enjoy the show. Rocky Horror is an annual occurrence at the Michigan Theater and sells out nearly every time, so be sure to get your tickets early. It’s a Halloween festivity not to be missed! 

 

 

Image from the film, thanks to IMDb.

REVIEW: The Shadow of a Gunman

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4:00pm • Saturday, Oct. 21, 2023 • Power Center

The Druid Theatre Company’s production of The Shadow of a Gunman, from Sean O’Casey’s Dublin Trilogy, explored themes of cowardice and courage, and of action and inaction. The story takes place in a tenement during the Irish War of Independence, following Donal Davoren, a poet, and Seamus Shields, a traveling salesman. The tenement’s residents believe Davoren is an IRA gunman on the run, a tale which he does not refute because of the aura of mystery and importance it grants him. The plot reaches a climax near the end of the play, when the tenement is raided by Black and Tans (a violent British police force), eventually revealing which characters are the true cowards. 

I appreciate the way O’Casey uses pointed moments of comedy in this play to make a statement about individuals’ feigned and real courage. Davoren and Shields both make a show of their ideological commitments and their willingness to act, but when their lives or values are actually threatened, they collapse into trembling heaps. Davoren gives a great monologue about the moral superiority of “the poet,” and that archetype’s commitment to higher philosophical strivings than the majority of laborers, but we see throughout the play that Davoren has little real commitment to anything. 

My favorite character in the play is Minnie Powell, one of the tenement’s residents and Davoren’s love interest. For most of the play, Minnie is treated almost as a prop. She is the object of Davoren’s interests, and her name is used as an invocation by the other residents, warning Davoren against “degrading” attachments. However, at the end of the play, Minnie is the one who assumes the responsibility of hiding incriminating evidence from the Black and Tans, believing it belongs to Davoren. Minnie is the one who is dragged down the stairs shouting “Up the Republic,” while Davoren and Shields cower in their room hoping she doesn’t reveal their involvement. Minnie’s death brings Davoren and Shields’ puff-chested braggadocio into tragic relief, completing O’Casey’s statement about the value of action over words. 

I think there is another interesting conversation to be had about whether O’Casey himself lives up to this statement in his legacy as a poet and playwright. I don’t necessarily have the background knowledge to answer that question, but I am fascinated by the dialogue between O’Casey’s works and his stated beliefs about the role of artists in conveying messages about society, politics, and human nature. O’Casey’s work focuses on the common people of Ireland, rather than the heroes and martyrs of the nation’s conflicts. Is there a sense of elitism inherent in using one’s position as an artist to criticize the common people for their lack of heroism? I’m not sure.

 

REVIEW: The Plough and the Stars

Ella Larsen Leave a comment

The Druid Theatre Company’s production of The Plough and the Stars, from Sean O’Casey’s Dublin Trilogy, raises salient questions about the nuances and cost of violence in the name of nationalism. The play captures the months preceding and during Ireland’s Easter Rising of 1916, focusing not on the “heroes” who participated in the Rising but on the common people living through the conflict, a major theme in O’Casey’s work. O’Casey eloquently portrays the tension between normalcy and wartime through the everyday lives of and relationships among his characters.

I thought O’Casey’s treatment of gender in the plays I saw was interesting. While I disliked the way Nora’s character in The Plough and the Stars was used to convey the tragedy of war by playing into stereotypes of the “hysterical” or “unstable” woman, I appreciated the way all of the female characters were endowed with strong personalities and ideologies. Even though O’Casey occasionally used these strong personalities as the punchline to jokes based on binary expectations of masculinity and femininity, they meant that each character in the minimal cast was given weight and their perspectives meaning.

While I recognize that the conflicts portrayed in the Druid Trilogy are still salient in Ireland and the Irish diaspora, for me, O’Casey’s critique of Irish nationalism and religion were a little too far out of context to feel particularly compelling. That said, the relation of the play with conflicts occurring right now elsewhere in the world left much for me to consider. The program for this production explains that after The Plough and the Stars debuted in Dublin, demonstrations against O’Casey’s depiction of the conflict interrupted subsequent stagings. I think it’s interesting how the history of the production is one of collective reckoning with the value and cost of violent conflict.

I wouldn’t argue that Ireland’s wars in the early 20th century are contextually similar to modern wars such as those in Ukraine and Palestine, but I feel that there are certain overarching themes which apply to the way we conceptualize these conflicts. For me, watching O’Casey raised the idea that one can hold and examine many ideas at once. Pointing out the costs of violent conflict needn’t be synonymous with delegitimizing a cause. Even in the heat of the moment, it is essential to create space for critical thinking about ideological causes, especially when the choices we make invoke life-and-death consequences for innocent people.