Category: Theatre

REVIEW: The 25th Annual Putnam County Spelling Bee

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It was my pleasure to see the preview of the Michigan Musical Theater Department’s second show this season, The 25th Annual Putnam County Spelling Bee. This show is an absolute riot and an effortlessly entertaining experience, making it a superior addition to the Dexter community’s cultural offerings. This marks one of the first, if not the inaugural performance with SMTD and the Encore Theater. As one of Southeast Michigan’s premiere theater companies, it Is thrilling to see this collaboration with such talented students from our university.  

Spelling Bee has achieved notable success as a standalone show. Its 2005 Off-Broadway production secured three Drama Desk Awards for Best Book, Director, and Ensemble Performance. The original Broadway cast garnered three Drama Desk Nominations and Six Tony Nominations, resulting in two Tony wins for Best Book (Rachel Sheinkin) and Featured Actor (Dan Fogler). Rachel Sheinkin’s book is marked by effortless wit, and the narrative unfolds with impeccable pacing. It seamlessly transitions between tender, grounded moments and a campy atmosphere that almost feels too whimsical to be true. Just when you anticipate a lull in the story, the writing takes an unexpected turn that keeps you on the edge of your seat. William Finn, known for his compositions in Falsettos and A New Brain (both of which received Tony and Drama Desk Award nominations and national recognition), brings his musical expertise to Spelling Bee. His music is nuanced and brings a campy yet touching score while catering to the modern listener’s sensibilities. Sheinkin and Finn make a formidable creative team, delivering a distinctive theatrical experience through their work on Spelling Bee.

One of the show’s standout aspects is the interactive audience experience, which is a pleasantly abrupt surprise that contributes to the cast’s infectious energy. The moderator, Miss Rona Lisa Peretti, will call out random contestants from the audience to participate in the Bee! If you are a uniquely gifted speller… this is your chance! 

This production features fantastic stage direction by Vince Cardinal and music direction by Tyler Driscoll, accompanied by a fantastically organized and attentive pit. The musicians performed on stage with a creatively spaced pit behind the stage. The design of this show was equally fantastic, with some unexpected hidden surprises sprinkled inside the set. The thrust-style stage gives each seat a unique theatrical experience.  

It’s always a delight to witness the musical theater students’ performances throughout the year. One impressive aspect of this particular show that stood out to me was the physicality among the vast range of ages. Each of the “competing spellers” seemed to embody the natural posture and mannerisms of anxious preteens awaiting their turn to compete. The adults all held a noticeable poise to set them apart. The costuming equally complemented the playful and innocent essence of the kids and youthfully spirited adults. These college students truly transformed into their characters out of the many young adults I know at SMTD.

Needless to say, the Spelling Bee rekindled the excitement of my inner child, and I anticipate that it will be a successful and thrilling run for the U-M Musical Theater students and Dexter Theater. The show will kick off its run tonight, October 19th, at 7:30 pm, and will continue with a ten-show schedule until October 23rd, culminating with a matinee at 2 pm. I strongly encourage anyone contemplating attending to find a kind friend with a car or splurge on the Uber to Dexter and experience this fantastic show; it’s unquestionably worth the brief journey from Ann Arbor.

 

Image thanks to The Encore Theater and University of Michigan SMTD.

REVIEW: Guys and Dolls

Sappy Leave a comment

*Performances of Guys and Dolls took place in the Lydia Mendelssohn Theatre from October 5-8 and 12-15*

On the many websites promoting SMTD’s performance of Guys and Dolls, it was called a “true crowd pleaser,” and it truly was! Guys and Dolls is a brilliant romantic comedy built around lies and deceit with themes of religion and gambling. I found myself smiling the entire two hours of the show. Because I’m so accustomed to classical music where the audience only claps at the end, I was surprised when the crowd cheered after each song. That added to the excitement and joy in the theatre, and before I knew it time flew by.

The acting, singing, and dancing were the highlight of the show. Performers in this production were all students in the Department of Musical Theatre, but they embodied their characters so well I couldn’t see them as anybody but their character even as they were taking their bows. I loved how they never left their roles when the curtains dropped, the lights turned off, and they exited the stage. They captured the regional slang and accents perfectly while singing too! I had trouble understanding at times, but that just indicates the cast’s mastery in embodying New Yorkers in the 1950s.

The main characters were gambler Nathan Detroit, played by Chad Marge (Senior, BFA Musical Theatre); Nathan’s girlfriend and night club performer Adelaide, played by Catie Leonard (Junior, BFA Musical Theatre); gambler Sky Masterson, played by Diego Rodriguez (Senior, BFA Musical Theatre); and the straight-laced missionary Sarah Brown, played by Alex Humphreys (Senior, BFA in Musical Theatre).

The musical opened with the orchestra, and afterward, beautiful props such as neon store signs representative of Times Square were brought onto the stage. Following soon after was a charming dance hinting at the motif of flirtatious and sleazy love. The work of choreographer Mara Newbery Greer was just fantastic overall. The dances showed off the talent of the cast by incorporating full usage of the body through leaps and acrobatics as well as adding personality befitting of the song and scene. My favorite choreography was Luck Be a Lady featuring Sky & Crapshooters, which emphasized Sky’s charm. Sit Down, You’re Rockin’ the Boat by Nicely-Nicely & Company was super fun too, and definitely one of the comedic highlights.

My absolute favorite song was My Time of Day/I’ve Never Been in Love Before, a duet between Sky and Sarah that concluded Act I. Their voices had such gorgeous contrasts when harmonizing and responding to one another. Everyone’s singing was so stable and clear as if they were in a studio and not dancing, jumping, and running around.

I was surprised that the musical was being performed at the Lydia Mendelssohn Theatre since it’s small compared to other venues, but they made great use of space by incorporating the actual theatre exit and aisles into their play. Props to the Creative Team, Production Crew, Running Crew, and Orchestra for making it possible to have such a smooth showing of Guys and Dolls. I can see why it won so many awards and is so popular, and the experience made me determined to watch more musicals!

REVIEW: Guys and Dolls

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Frank Loesser’s Guys and Dolls dazzled the stage this weekend at the Lydia Mendelsohn Theater. The world-renowned University of Michigan Musical Theater department consistently illuminates the community with their work, and Guys and Dolls proved to be a successful production, brimming with high-energy performances.

I am consistently impressed by the professionalism and dedication to the craft that each of the performers brings to the stage in the Musical Theater Department University Productions. The level of theater presented throughout SMTD is undeniably inspiring. Each of these characters has been meticulously shaped, both in terms of their design and costuming, as well as the emotional and physical portrayals by the actors.

Standout numbers included, “Sit Down, We’re Rocking The Boat” and “The Crapshooter’s Ballet”. These were the most intricately choreographed and truly exhilarating to watch. The assistant choreographer, Cole Newburg, was a delight to watch on stage. I am consistently impressed by his polished work. I was exceedingly impressed with the dancing aspect of this show. The different styles were skillfully portrayed, and the ensemble work was precise and visually stunning.

The voices of Alex Humphreys and Diego Rodriguez as Sarah Brown and Sky Masterson were nothing short of spectacular. I admired their meticulous stylistic approach to the music, and in moments together, their vocal harmony was just as beautiful as their chemistry as characters. I applaud both of them for their fantastic work in these roles.

As I exited the theater, I found myself pondering the relevance of staging a show like Guys and Dolls in 2023. The 1950 show didn’t shy away from portraying the female characters as mere accessories to their male counterparts (implied by the term “Dolls” used throughout the show). This classic production continues to captivate audiences and evoke a warm sense of nostalgia, yet it raises the question: Can Golden Age shows be adapted for modern times? This is something I often contemplate as a lover of Golden Age works, but I sometimes cringe at its outdated dialogue.

Another brilliantly done Musical Theater Department show is nearly in the books— There is one more opportunity to catch Guys And Dolls at the Lydia Mendelsohn on Sunday, October 15, at 2 pm. The Musical Theater Department will be performing The 25th Annual Putnam County Spelling Bee starting NEXT weekend, running from October 19 to 29 at the Encore Theater in Dexter, MI. It’s a show not to be missed!

 

 

Photo thanks to The University of Michigan SMTD Facebook, 2023.

REVIEW: Guys and Dolls

Ella Larsen Leave a comment

8:00pm • Saturday, Oct. 7, 2023 • Lydia Mendelssohn Theater

This Saturday’s performance of Guys and Dolls was one of the best musicals I have seen on campus. SMTD’s production staff, crew, and performers breathed life into the classic “Broadway fable” through their thoughtful and critical treatment of the 70-year-old subject matter, while remaining true to the musical’s original humor and optimism. 

First and foremost, the cast’s performance was exceptional. The actors embodied their characters with charisma and authenticity, making them relatable despite some of the more dated stereotypes. Their command over dialects transported us to the streets of New York, and their chemistry on stage gave the story’s romances real gravity that completely absorbed my attention. In particular, I was blown away by Alex Humphreys’ soprano (just like I was in last semester’s production of Rent!) in “I’ll Know” and literally all of her songs afterwards. 

I loved how the set and costume design expertly combined to craft a convincing world onstage, without visually overwhelming the talent of the actors. When the curtain rose at the beginning of the performance for “Runyonland,” the sparsity of the stage put the spotlight on the orchestra for a few well-deserved moments. An unexpected sense of excitement and anticipation overtook me as the curtain lifted a second time, revealing the blinking neon signs of Broadway and immersing me in the production’s vibrant atmosphere. 

Despite Guys and Dolls being a product of its time, based on the archetypes developed in Damon Runyon’s 1920s and ’30s stories about the New York underworld and Broadway, SMTD managed to navigate this delicate terrain with finesse. The show’s dramaturgs thoughtfully interpreted some of the more outdated themes in the show, making it relevant and engaging for a modern audience. I especially appreciated the incorporation of informational placards in the hallway, shedding light on the broader social context of the era. These additions offered audiences a deeper understanding of historical context like the LGBTQ+ scene in 1950s New York and the nascent Civil Rights Movement, adding layers of depth to the narrative we saw in the play.

In conclusion, SMTD’s Guys and Dolls was a resounding success on all fronts. The students’ dedication and talent elevated every aspect of the production, from the outstanding musical performances to the impeccable set and costume design. I was impressed by the production’s ability to breathe new life into a classic while addressing its historical context with sensitivity. 

If you haven’t yet seen Guys and Dolls, you still have the opportunity to buy tickets for this Thursday, Friday, or Saturday’s performances, and I urge you to do so! You might see me there as well!

REVIEW: Rent

Ella Larsen Leave a comment

Thursday, April 13, 2023 • 7:30 pm • Power Center

SMTD’s Rent was an incredible experience! Everything from the artists to the accompaniment to the set and costuming was spot-on, and I’m so grateful I got to see this iconic show live.

Shoutouts for favorite performers go to Alex Humphreys (Joanne Jefferson) and Sevon Askew (Tom Collins). I loved Humphreys’ tightly-wound portrayal of Joanne, holding back until her full voice finally exploded through in “Take Me or Leave Me.” Askew played a perfect Tom Collins, simultaneous dreamer and voice of reason. The duet with Angel (“I’ll Cover You”) was beautiful while somehow still hinting at the tragedy to come, and the reprise was heartbreaking.

As I mentioned earlier, the set for this show was super cool. The structure evoked a corner of the East Village circa 1990, every element of the stage simultaneously a darkened street, a lot, a tent city, a community of apartments. Not that I can exactly vouch for its accuracy, but it matched my generation’s faux-nostalgia for the grungy late-80s, early 90s. The program detailed a little of the dramaturgs’ approach to the historical integrity of the play, including details like following AZT dosage instructions or matching the brands of makeup popular at the time. As far as the set goes, I liked how the lack of borders between elements of the set seemed to reflect the transience of housing in the show–one moment the cast was in Mark and Roger’s apartment, the next they were on the street.

The last time I watched the 2005 screenplay version of Rent was probably 2018 or so, when I was in ninth grade, and I think a lot of it went over my head, especially the historical elements like the HIV/AIDS crisis. I took a course on social movements this year where we spent a long time analyzing the ACT UP movement, which brought me a whole new level of appreciation for Rent‘s relationship to and portrayal of the epidemic.

I’m glad I got to see SMTD’s last show of the season, and I can’t wait to check out some of their 23/24 lineup when I get back after the summer. Access to so many incredible performances is one of the things I love most about living in Ann Arbor, and if you’re a student reading this, I hope you’ll take this opportunity and make the most of the campus art scene while you’re here.

REVIEW: Everybody

Ella Larsen Leave a comment

2:00pm • Sunday, April 2, 2023 • Arthur Miller Theater

Everybody was a very strange experience. The play is based on the 15th-century play Everyman, a morality tale which uses allegorical characters such as Death, Everyman, Fellowship, Kinship, and Good Deeds, to explain how one attains Christian salvation. This adaptation, written in 2017 by Branden Jacobs-Jenkins, modernizes the story into a more inclusive, interfaith exploration of morality, death, and afterlife. Jacobs-Jenkins points out similarities with Buddhist philosophy in the story’s moral framework, and builds upon those similarities by questioning reality and emphasizing points such as Everybody’s attachments to the material world and the self. He also makes the play more interactive, using a lottery at the beginning that determines which actors will play which characters, and opening the play with several of the actors hidden among the audience.

I appreciated how the affordances of the physical space of the Arthur Miller Theater, the elements of audience participation, and the blending of the cast with the audience added to the surreal tone of the play. I wasn’t entirely sure when the performance had actually started, because the “ushers” spent a long scene in the beginning explaining the theater etiquette and executing the lottery. These elements made the play feel personal and “real,” which made the more surreal scenes even more jarring. For example, immediately after bantering cheerfully with the audience and explaining the reasoning behind the play, the ushers became conduits for the voice of God, speaking simultaneously and doing simple, mildly disturbing partner gymnastics while a distorted, echoing recording played over their voices.

By chance, two different cast members sat next to me over the course of the performance. The first was there when I entered the auditorium, noisily interacting with (who I later realized were) other cast members in the audience. The second actor played the role of a random child, which meant that midway through the performance a person in a puffy Alice-in-Wonderland-looking dress entered quietly, plopped down next to me, and rummaged around in her pocket for a Fruit Roll-Up. She put one end in her mouth and unrolled the whole thing into her lap, slowly sucking the strip into her mouth. It was weird, and I was uncomfortable. I felt this brief sense of relief when I realized she was an actor, but also sort of guilty. What if those actors had just been people being people? A more critical awareness of my own “othering” tendencies was an unexpected result of the performance.

I appreciated the weirdness with which SMTD executed this production of Everybody, and I wish the audience had been a little fuller, although it was a Sunday matinee performance. The cast did a great job, and I look forward to hopefully seeing them in some other productions during the next few semesters.