REVIEW: Sense & Sensibility: A New Musical

Sappy Leave a comment

From early to mid-March, under the direction of Matt Bogart, The Encore Musical Theatre put on a beautiful production of Paul Gordon’s Sense & Sensibility: A New Musical. The set design was grand and elaborate, making full use of the theater’s space. The costumes featured intricate details that reflected the period’s distinctive clothing, and the acting and soulful singing contributed to an immersive atmosphere. 

Based on the romance novel by Jane Austen, the plot takes place around 1792-1797 and follows two sisters, Elinor andMarianne Dashwood, played by Chelsea Packard and Jessica Grové. After the sudden death of their father, the women of the Dashwood family are forced to leave their home due to inheritance laws and relocate to a more modest property in the country. The sisters grew anxious about their marriage prospects, as women at the time heavily relied on marriage to secure their future. As they struggle to balance romantic desires with practical concerns, the story unfolds with messy relationships and complex emotions.

Because a musical and a novel are different genres, the musical’s pacing was faster, more direct, and exaggerated. While it lacks Austen’s iconic narrative prose, the show boasts an impressive amount of musical numbers with nineteen songs in the first act and twenty-one in the second that all showcase the characters’ personalities and emotional depth more vividly than the novel. As a result, characters with smaller roles in the book were able to have a bigger part in the musical. 

The first musical number that stood out to me was “Lydia,” sung by Colonel Brandon, largely due to the powerful voice of director and actor Matt Bogart, who is also a professor at SMTD. Bogart’s tone and vibrato enhanced the romantic desperation his character conveyed. My favorite songs from Act I, however, were the last three numbers: “Lavender Drops (Reprise),” “Hello,” and “Somewhere in Silence.” “Lavender Drops” and “Somewhere in Silence” were duets between Elinor and Marianne; their voices complimented each other beautifully, reinforcing their sisterly bond for the audience. In contrast, “Hello” is sung by Elinor and her love interest Edward Ferrars (played by Adam Woolsey), which offered insight into their relationship through its thoughtful lyrics. In Act II, I especially loved the humorous lyrics of “Wrong Side of Five and Thirty” sung by Colonel Brandon, which gave his otherwise serious character a more personable and vulnerable side.

Overall, although the tickets were a bit pricey and the commute to the theater was longer than preferred, the high production quality made it well worth it. I enjoyed being able to see a professor perform because I had only seen students perform previously. I’ve always been awed by the students at SMTD, and Bogart’s talent and skill demonstrated how great professors can foster great students. While this wasn’t my favorite musical narratively or musically, it was still a lot of fun to watch.



REVIEW: asses.masses

Maeve Ricks Leave a comment

The lights dim, and a sense of communal excitement fills the air. This is asses.masses, a unique blend of performance art and interactive gaming that shows that UMS’s “No Safety Net series” is keen on shattering entertainment norms. Imagine embarking on an 8-12 hour journey through the whimsical yet poignant world of donkeys, alongside 60 of your newest friends—or better yet, fellow asses? It’s a spectacle that blurs the lines between audience and participant, reality and digital whimsy.

The night unfolds with this structure: bursts of gameplay, each lasting 1-2 hours, interspersed with 20-minute breaks full of delicious snacks to refuel the mind and ass (you were sitting for basically 12 hours straight). During each session, one, or multiple brave souls step into the spotlight to take control, leading us all through a donkey-laden adventure examining the complex themes of oppression amongst the masses (the asses). 

And what a game it is! Without spoiling too much, let’s just say it takes you places: ass heaven (or perhaps hell), plots to save and slay donkeys, and interactions with the glinting eyes of ass gods. Our particular group, inventive as ever, decided to collectively voice these celestial beings, yielding echoes of laughter from the creators of asses.masses who were watching from a back corner. A spontaneous chorus, indeed and it seems we were pioneering uncharted ass communications.

What’s truly fascinating is the meta-narrative unfolding within and around this performance. It’s an interesting case study: you’re both an audience member of a performance and also a guinea pig who is trying the game for the first time. As we play, are we not testing the game itself? Watching each other’s reactions, it raises the question: how does our interpretation as audience members inform the art we’re immersed in? asses.masses challenges you to question whether passive observation equates to play; at the end of the evening, are you a gamer if you never held the controller?

Delving further, this unconventionally satirical journey through donkey society cleverly turns the mirror on governmental systems, ethics, and morality. Are we any different from the metaphorical asses, constrained by human societies’ dictates? In a delightfully strange twist, this absurdist narrative finds roots in eerily relevant social commentary.

If you ever get to see the show, bring friends along to share in the story and debate the ethical questions the story raises. But if you attend solo, then chances are you’ll leave with new friends, bonded over collective laughter, and some mutual existential musings about the plight of the ass.

asses.masses is a peculiar and transformational dive into interactive art. It encourages you to reflect upon and engage with the world, proving that games can be profound social experiments when left in the hooves of good company. Here, you’re not just along for the ride; you are part of an unpredictable, evolving story where the roles of ass and master blur. Hopefully, asses.masses will come to a city near you soon, and you can embark on a donkey-ful escapade.

REVIEW: Paddington in Peru

Maeve Ricks Leave a comment

Gather ’round, marmalade enthusiasts and curious movie-goers: Paddington is back! This time, our favorite conscious, talking bear trades in the drizzle of London for the vibrant hues of Peru. Paddington in Peru is pretty much a fluffy, cinematic hug, and don’t we all need that every so often? 

When a mysterious letter arrives at the Brown family’s doorstep, it whisks Paddington and company off on an adventure across the Atlantic, landing them in the lush and dynamic landscapes of Peru. 

From extravagant natural vistas to the bustling streets filled with vibrant culture, Paddington in Peru offers plenty of visual delights. The cinematography expertly transports the viewer into the jungles of Peru. You’re not necessarily sweating in the Peruvian heat alongside Paddington, but you are definitely in one of those Disney World rides where they spray water and various smells to pretend you’re there. And, of course, the humor is as charming as ever. Paddington’s knack for both unwittingly causing chaos and saving the day never fails to elicit laughs, especially alongside Antonio Banderas (who looks as handsome as ever).

Now, let’s address the furry elephant in the room: the recasting of Mary Brown. Sally Hawkins played a beautiful Mary in the first two movies. It was sad to see her go. Emily Mortimer, who you may recognize from Aaron Sorkin’s The Newsroom, attempts to bring her own into the role. Although her portrayal brings a bright sharpness to the character that affirms she’s more complex than the stereotypical “mother of the house”, her Mary fails to land as sweet as the orange marmalade that Paddington eats. 

Paddington, for all his bear-related antics, continues to be a paragon of kindness and reminds us of the beauty in community and friendship. One of the most memorable quotes from the film reminds us that, “on your search to help others, you’ll find yourself.” Even if you find yourself in an unfamiliar land, you can still help others in both unprecedented and everyday ways: in marmalade sandwiches and simple acts of kindness.

It’s hard not to leave the theater with a sense of hope, even as the credits roll. In a world that sometimes feels upside down, Paddington brings solace and delivers powerful lessons wrapped in simple bear-sized packages. Muddling through life with a sense of optimism and a love for marmalade sandwiches isn’t the worst way to cope with the chaos around us.

So, as you drive to your local cinema, whether you’re 5 or 95, prepare for a bear-y good time. Just remember to pack your own marmalade sandwiches.

REVIEW: The Hunchback of Notre Dame

Maeve Ricks Leave a comment

Oh, the thrills of live theater… expectation in the air, anticipation humming, and—oh, what’s that?—a microphone left on backstage, inadvertently picking up the riveting sound of someone’s pre-show snack break. Alas, such was my experience with MUSKET’s winter production of The Hunchback of Notre Dame at the Power Center for Performing Arts. As the house lights dimmed, I was prepared for an epic adventure through the cobblestone streets of 15th-century Paris, guided by the sweeping melodies of a beloved Stephen Schwartz score. What I received instead was a journey paved with glaring sound issues and directorial missteps.

The sound design/mixing was, let’s just say, a unique interpretation of cacophony at its finest. The voices of leading roles were swallowed by the ensemble during featured moments; it was more like they were competing in a vocal tug-of-war where only one side had their microphones turned on. When the sound design is good, you notice nothing; when it’s bad, it’s like nails on a chalkboard. Mics left on at inopportune moments, and mics off when they were supposed to be on was just the beginning of the rest of this epic-length musical.

Then we have the set—a gorgeous, rented fantasy courtesy of Disney itself. Revel in its arches, its gothic allure, the golden bells, and its underwhelming presence because it was scarcely utilized! If I saw one more chorus arc singing center stage and standing still, there’d be hellfire to pay. Not to mention, that every powerful ballad lacked movement, standing on the same bored center stage mark.

The direction, I’m afraid, felt more like a directionless meandering. Lacking dynamism, each scene seemed to wash into the next with a repetitive lull that did no favors for the audience’s attention span or for characters who already struggle to stand out against their major movie counterparts. It’s hard for me to grasp onto characters whose only defining trait is their ability to make me wish the scene transition would happen already.

Despite these misadventures in sound and space, the cast carried the show on their capable shoulders with Esmeralda, played by Abby Lyons, and Quasimodo, played by Max Peluso, shining even through the most challenging acoustic trenches.

In the end, not even the beautiful set could gloss over the production’s glaring flaws, echoing Shakespeare’s timeless observation that “All that glitters is not gold.” Alas, it’s a poignant reminder that the right team can turn straw into gold, but all the gold-rented sets in the world can’t salvage a lackluster vision and poor sound mixing.

For a student theatre organization that is so popular and well-revered, it’s a shame this production can’t stand next to some of their other hits. Here’s hoping future productions can rise above, allowing both story and song to truly soar.

REVIEW: The Dark Knight

Sappy Leave a comment

Director Christopher Nolan truly outdid himself with his gripping film, “The Dark Knight.” This action-packed movie takes place in Gotham City, where despite the system of law and order, various mobs are running the city and causing havoc. Batman helps to keep crime at bay with the help of Gotham City Police Department’s Lieutenant Jim Gordon and District Attorney Harvey Dent. However, things take a turn when the Joker disrupts the crime scene, causing chaos for both the law-abiding citizens and the criminals of Gotham City. 

I really enjoyed this movie as it was not the typical hero vs. villain action movie that is so common in the movie industry, in which the characters are all either good or bad. Instead, this movie dives deep into the complex emotions of humans and how many will make ‘unethical’ choices depending on what is at stake for them. When successful and morally righteous characters who have always followed the rules have to deal with a traumatic loss, they may end up making cruel choices, but to them these choices are what is ‘fair’. The movie is riddled with scenes in which characters must make a choice, but both choices are cruel and cause suffering to someone/some people, causing the person making these decisions to really think about which choice is the most morally correct. This movie makes you think hard about what is really considered ‘fair’ when making difficult decisions, how nothing is completely black or white.

I thought that the character of the Joker was very well developed, as the Joker is portrayed as different from the usual criminals of Gotham City that are in it for the money. Heath Ledger did an amazing job portraying the Joker as someone that was truly misunderstood by society, causing him to rebel against people that are rule followers. His facial expressions and abrupt mood changes portray a disturbing depiction of an antagonist misunderstood and mistreated by mainstream society. The Joker tries to convince characters that are seen as ‘good’ that they are actually similar to him, and he is constantly trying to push people over the edge to going against the rules and following chaos instead, arguing that ‘chaos is fair.’ 

Aaron Eckhard, who played Harvey Dent, did a marvelous job portraying his character who went through one of the harshest changes I’ve seen throughout the movie (both physically and mentally), and it was interesting to see how he developed as a character. Christian Bale, who played Batman, also captures the essence of how a superhero fits into the rules of society, and whether that makes them a true hero or a vigilante.

Overall, this emotional rollercoaster of a movie with its several twists and turns, paired with intense action shots and thrilling fight scenes kept me gripping my seat in anticipation throughout its entirety. The actors did an amazing job bringing to life the characters that many know from its comics, which really helped to make the viewer feel like they were a part of the adventure. I feel as though this film would be enjoyed by both long time DC comic fans as well as anyone looking for a thrilling action movie with iconic characters.



REVIEW: Titanic: The Musical

Sappy Leave a comment

Photos are provided by Peter Smith Photography

From April 17-20 at the Power Center for the Performing Arts, the School of Music, Theatre & Dance gave a hauntingly beautiful performance of Titanic: The Musical. Alongside Twelfth Night, which was performed earlier in the school year, this production was among my favorite shows of the year and served as a powerful conclusion to the 2024-2025 SMTD season. Everything from the dancing, singing, and acting under the direction of André Garner was exceptionally impressive and truly highlighted the tragedy of the Titanic through compelling storytelling.

Though the movie and musical premiered at similar times, the plot of the musical has no connection to the film. Instead, the stage production is based on a book by Peter Stone, with music and lyrics composed by Maury Yeston. Unlike the movie, which focuses on just a few protagonists, the musical captures the story of an entire ensemble of characters, each with unique personalities and socioeconomic backgrounds. The show does an amazing job showcasing the different passengers’ dreams and motivations for boarding the ship. One aspect of the plot I loved was that, despite their differences, many characters share a common thread: a deep love or devotion for another person. This made me feel more connected to the characters and intensified the emotional weight of the story.

There’s so much to praise about this production—the set design consisted of dark metal frames that created an industrial aesthetic contrasting sharply with the grandeur described by the passengers. I also appreciated the thoughtful use of accents, including British, Irish, and American, which reinforced the historical context and helped clarify class distinctions for the audience. 

The key characters that stood out to me were Thomas Andrews, the ship’s builder; Captain Edward J. Smith, a veteran captain who planned for the Titanic to be his final voyage; J. Bruce Ismay, the wealthy villain behind the tragedy; Isidor and Ida Straus, an elderly couple whose loyalty and enduring romance were unforgettable; and Frederick Barrett, a poor yet charismatic worker in the boiler room.

What stood out to me about Andrews (played by Sutton Kaylor), Captain Smith (played by Landon Wouters), and Ismay (played by Drew Perez Harris) was how their character dynamics were shaped by class and power struggles, and how the tension between just these three characters became the driving force behind the tragedy. Their interactions emphasized how the ambition and greed of a few individuals in power can lead to negligence and disaster. This is most powerfully captured in the number “The Blame,” which musically illustrates their anger, helplessness, and unwillingness to take responsibility.

In contrast, what moved me most about Isidor and Ida Straus was how their love transcended the panic and despair of the situation. Their duet in Act II, “Still,” beautifully expressed their unwavering commitment to one another and served as a powerful symbol of selflessness and hope in the face of death.

The number with the most striking choreography was “Barrett’s Song,” in which Barrett (played by Jason Mulay Koch) sings about a letter to his beloved, whom he left behind to work aboard the ship. The staging of this number featured the boiler room workers performing a physically demanding dance, incorporating flips, extended ballet spins, and synchronized movements that mirrored the intensity and labor of their environment. It was both graceful and raw, and it heightened my excitement for the rest of the musical numbers.

However, what left the deepest impression on me was the final number in Act II, “Finale.” In this solemn closing, the survivors deliver spoken lines that recount real historical facts about the Titanic—including the dreadful imagery of victims’ bodies found among the icebergs and their screams echoing in the darkness, details I never could have imagined. The blend of emotional narration and chilling facts made the conclusion both gut-wrenching and unforgettable, leaving me with a heavy heart as I exited the Power Center.

Overall, this heart-wrenching story and visually stunning production was genuinely awe-inspiring. I will always remember the bittersweet beauty of this musical—its fantastic choreography, breathtaking vocals, and vivid retelling of one of the most infamous tragedies in history. It’s a story that highlights both the devastating consequences of human pride and the enduring power of love, making it an emotionally complex and unforgettable theatrical experience.