REVIEW: The Gershwin’s Porgy and Bess

tintinj Leave a comment

Some context (and spoilers):
On the surface, Porgy and Bess is a story that revolves around Porgy, a crippled beggar, and Bess, a woman who’s being fought over by different men. The opera is divided into three acts: the first act introduces the characters and initiates the relationship between Porgy and Bess (her partner Crown kills a man and has to disappear); the second act explores Porgy and Bess’ romance and Porgy’s devotion to Bess; the third act stages the fight between Crown and Porgy over Bess. In the resolution, Bess follows Sporting Life, a smooth talking drug dealer, to New York after Porgy is taken in by the police after killing Crown.

Saturday’s Porgy and Bess performance was certainly interesting. The four hour show is described as an “opera in concert.” Opera turned concert? Opera cum concert? The terminology’s a little confusing but the point is clear: the focus is more on the music and less on the acting. Rightfully so, the stage was stripped of any props, costumes (the gambling scene felt more like a socialite gathering rather than a men’s night), and any real action. Crown and Robbin’s “fight” was “played” out by the full blown orchestra surrounding the puny stage, while the actors stood their waiting to sing their next pieces. I’m not complaining though. Being familiar with covers of some of the songs, I was very pleasantly surprised to listen to the original versions sung by powerful, masterful leads.

Analogy wise, it’s similar to seeing a friend in front of his/her parents for the first time. It’s different. It’s definitely not as “fun” but there’s a certain sense of elegance and sophistication you’re gauging from this “new” fellow. Or think of mac and cheese served with truffles and caviar, plated in porcelain. It’s an old comfort dish, served differently. Not bad, just different.

Before listening to Clara’s official rendition of Summertime, a lullaby for her baby in Porgy and Bess, I only knew (and loved) Al Jarreau’s carefree, springy version of it, from his album “Tenderness.” I never knew the haunting “Summertime” original, sung by the amazing Janai Brugger, was meant to foreshadow death and loss in the play.

My overall favorite song has to be Sporting Life’s “It Ain’t Necessarily So.” When I listened to the piece for the first time before the opera, I was preparing for a hellish ABRSM piano exam. This, of course, meant that I was force-fed music that was stripped of its lyrics and taken out of its context, over and over again. So yes, I hated the song. I didn’t understand why it didn’t sound as good as other jazz pieces (easy answer: my piano was out of tune and I could never play it right) and I hated the abrupt, awkward sounding choruses. But coming out of the concert, I remembered only one character, Sportin Life, for the rest of the night because of that song. Chauncey Packer’s rendition of “It Ain’t Necessarily So” gave me shivers. His wholesome, cascading tenor voice molded Sportin Life as a professional, more of a magnetic entrepreneur rather than a greasy con-man, as some actors might portray him. Unlike the empty piano cover I played for an exam, the original version was meaningful: the lyrics gave it context and the singer gave it character. We see Sporting Life embodied in the song: foul-mouthed and “corrupted” at heart, but wrapped by a hypnotic, charismatic cover.

I also enjoyed listening to the other Gershwin compositions. Some notable ones include the sonorous, earthy “It Takes a Long Pull to Get There” sung by Reginald Smith Jr.’s Jake the Fisherman and the soulful, gospel-esque “Oh Doctor Jesus” sung by Karen Slack, Morris Robinson, Dorian Dillard II, and Lenora Green-Turner as Serena, Porgy, Peter, and Lily. I’m definitely including these songs in my playlist.

All in all, the Gershwin Initiative’s test performance for Porgy and Bess was an exciting musical adventure to witness.

REVIEW: Porgy and Bess

ajayw Leave a comment

The UMS production of Porgy and Bess was hyped up to be a surefire showstopper of a production.  It did not disappoint.  The University Symphony Orchestra, directed by Professor Kenneth Kiesler, sounded great and did a particularly good job of playing well in relation to the singers.  They had a unique assortment of instruments for this performance, incorporating banjo, saxophone, and a lot of percussion into the standard orchestral instrumentation.  In addition, there were a lot of cool sound effects coming from the back left corner of the stage including, police whistle, hurricane bell, siren, and an alarm.  Despite the mental and physical challenges that come with a four hour performance of music for any group, I thought that the orchestra finished the night even better than they started.  It was clear that they had put a lot of hard work into learning this music.  The chorus sounded fantastic as well and provided a powerful force at the back of the concert hall that added a multitude of different elements to the performance.  The spots where everyone sang as the orchestra played their hearts out made for some truly special moments.  All of the student actors and singers who had singing and speaking roles were exceptional.  Even if they only had a few lines or a few bars of song, they really shined and made the most of their opportunity to perform on a stage of that caliber.  As great as the student performers were, the professional singers that UMS brought in to play the principal roles really put the production over the top.  Chauncey Packer, the cast member who played “Sportin’ Life” gave a flamboyant and incredibly entertaining interpretation of the song, “It Ain’t Necessarily So” and it suited his portrayal perfectly.  It seemed more like a Broadway number than an opera aria with his slick dance moves and high kicks.  Talise Trevigne and Karen Slack, who played Bess and Serena, were sensational on their arias and duets.  “Summertime” started the show off on a high note an it only got better from there with the performances of “My Man’s Gone Now” and “What You Want Wid’ Bess” amongst other songs.  The man who really stole the show was none other than Porgy, played by Morris Robinson.  His voice sounded so rich in such a low register.  It was perfect for the role.  He brought the type of dramatic power that many think of as stereotypical for opera that other characters in this work just lack the capability of bringing.  The way he sang “Oh Lawd, I’m On My Way” allowed the show to end in a triumphant manner musically, even if the storyline doesn’t match up.  As incredible as the performance was, there are some negatives that have to be noted.  The opera was about as interesting as a 4 hour opera can be, but at the end of the day 4 hours is a long time to focus whether one is watching or performing.  In spite of this, the performance was fantastic and I would love to see UMS put on more productions like Porgy and Bess that can put student musicians from SMTD on stage with world renowned talent.

REVIEW: The Last Days of Judas Iscariot

kjwuzhere Leave a comment

The play begins with a distraught mother’s monologue about her son, dead now, presumably in Hell, and hated by the world. She states that if her son is in Hell then God cannot exist. Needless to say, the monologue is full of despair and unease, an uncertainty about certain fate–it is a mother refusing to accept what she knows to be true, with such force and emotion, that the audience also doubts what they know to be true. This is, in part, the beauty of The Last Days of Judas Iscariot–the certainties you come in with must be tossed aside, here, nothing is certain and everything is up for debate.

Then it all shifts. The stage goes dark. When the lights come back on, we are being introduced to Purgatory, the place people go where their fates have not yet been decided, quite literally, in a courtroom. The mood is no longer dramatic, but funny, even bubbly, as a vivacious angel shows us around. Deathly silence has been replaced by laughter as we are introduced to the real characters of this show: a judge and two lawyers, one fighting for Judas, the other for Heaven. This is now a courtroom drama, albeit one ruled by the dead.

As the play goes on (and it does go on–it has a runtime of 2.5 hours), many different characters, primarily historical figures or religious icons, make appearances in the courtroom, called on as witnesses. These range from Mother Teresa to Sigmund Freud to Pontius Pilate, and when I say characters, I mean characters. These are not mild-mannered, historically-researched portrayals, but updated, bawdy versions, almost cartoonish. Mother Teresa is practically deaf and prone to talking about “handsome boys.” Sigmund Freud is a braggart, egotistical and cocky, beyond what even his worse critics would claim. Pontius Pilate dresses and acts like a rapper from the 90s, basketball jersey and goldchains, talking about his bros. They are caricatures, in a way, and easy humor, but somehow, they still manage a deadly seriousness. They have, after all, come here to decide a man’s eternal fate, and though sometimes that thought is not at the forefront, it is never fully forgotten, and the tone of play flips between with ease. Further, though many of these characters clearly side with either the prosecution or defense, their testimonies never fully condemn or exonerate. Viewers do not get a clear answer on Judas and what he deserves, only waters further muddled by questions personal, philosophical, and political. The play demonstrates that even if we can construct the events exactly as they happened, we will never fully understand the why behind them or how to proceed.

If you want answers and certainties, this is not the play for you. Even at the end, after the verdict has been passed, the final scene leaves the audience not knowing what they hope, what it even is they could hope for. Though often a comedy, this play is, at its core a tragedy.

SMTD’s production of The Last Days of Judas Iscariot was excellent. The acting was phenomenal, managing the twists in tone deftly and with heart, and the Arthur Miller made for a particularly perfect stage.

REVIEW: Porgy and Bess

kschubring Leave a comment
A well-deserved standing ovation for the cast, orchestra, and chorus of ‘Porgy and Bess’

The evening of February 17th, 2018 marked a momentous occasion in music history in preserving the legacy of George and Ira Gershwin.

Years of scholarly research and months of rehearsal culminated in a sold-out Hill Auditorium performance of the complete “Porgy and Bess,” a 4-hour-long evening that featured the University Symphony Orchestra, University Chamber Choir, the Willis Patterson Our Own Thing Chorale, and a cast of award-winning soloists from around the world. Together, these large forces created a deeply moving production that honored the composer’s original intentions.

The opera wrestles with topics that are (in many cases, unfortunately still) relevant to today: racism, abusive relationships, hope, addiction, shame, community, joy, loss, and rejection. Consisting of 3 acts and two intermissions, packed with catchy tunes, gorgeous arias, and a heart-wrenching plot, it is a beast to perform for everyone involved (the second act alone is a whopping 1.5 hours long). Beyond his demands for endurance, Gershwin’s intricate and flashy score calls for professional-level performance for both the orchestra and chorus. The chorus, playing the part of an engaged band of citizens, commented on the action in bouts of virtuosity after not singing for long periods of time, which was quite impressive. Gershwin’s orchestration for the opera is often lush and rousing, but just as easily jumps to exposed, virtuosic solos that the members of the University Symphony Orchestra absolutely nailed.

The production’s leads did not disappoint. Morris Robinson’s Porgy was powerful in voice yet genteel in manner. Talise Tevigne’s honey-sweet soprano voice brought innocence and simplicity into the role of Bess. Norman Garrett played the villainous character of Crown with an irresistible smoothness. Chauncey Packer brought polish and electricity to the role of Sporting Life. Janai Brugger’s Clara was matronly and charismatic. Rehanna Thelwell, now pursuing a Specialist’s Degree from the University of Michigan, absolutely shined as a spunky and spirit-filled Maria. Other UM grad students held their own alongside professionals in the industry, bringing vitality, power, and deep feeling into every aspect of their performance.

This semi-staged production truly showcased the best of the best at the University of Michigan’s School of Music. The fact that I felt engaged for the entire opera, even without costumes, sets, and blocking, is a testament to the talent of the performers and the dramatic integrity of the score on its own. There were moments where the supertitles blandly relayed important plot events, and the audience members were left to use their own imaginations, but it was easy to do so given the highly evocative music. While there were definitely a few scenes that I could imagine a director choosing to cut, I was still appreciative of the opportunity to hear the opera in its entirety, and I was glad to see that much of the audience stayed for the entire performance.

This experience brought me a heightened sense of what I typically feel after watching a live opera: I am always deeply moved by witnessing the summation of collaboration at the highest and most intricate level, and the amount of work, focus, talent, and heart it takes to pull something so monumental off. But after this production, I felt this way to an even greater degree. I feel proud to go to a school where world-class scholars and performers collaborate to create beautiful things together.

REVIEW: You For Me For You

changje Leave a comment

You For Me For You is a title that accurately conveys the general theme within the play: the juxtapositions that result in a dizzying, even disorienting perception of time, space, and what it means to inhabit both dreams and reality. Sacrifice also plays a large role in the play; what we give up in the name of love and hope.

Sisters Minhee and Junhee live in North Korea, which is, of course, an incredibly oppressive and frightening place to live in. Citizens live their lives in fear and under constant surveillance, and after an altercation with a local doctor, Junhee decides to flee across the border. While the two attempt to escape, Minhee trips and falls down a well, where she is left behind. Junhee leaves for New York City, where she experiences what it means to be an American. After time passes and the two sisters discover truths about themselves, they are finally reunited, a happy affair that nonetheless has its own elements of sacrifice.

This play, written by Mia Chung and directed by Priscilla Lindsay, was the first Department of Theater and Drama production I have ever seen. I thought that the performers played their parts very well; they showed the audience a spectrum of emotions, ranging from humor to anguish. Without spoiling it, I thought that the end of the play was a very interesting one; sober, but also a stark contrast to the ideas of hope and risk-reward that were explored earlier in the play.

However, I was admittedly left quite confused by the play itself, though perhaps that disorientation was the point. Without spoiling the plot of the play, I will say that there were certain ideas that felt disconnected or unthreaded, and characters whom I was uncertain of it they were alive or dead. I was also confused about the giant walking teddy bear (???) and the actual fates and natures of Minhee’s husband and son. You For Me For You is advertised as being a play about magical-realism, and I thought that that was an interesting take on such a topic. There was definitely a discernible element of fantasy in the play; the problem for me, at least, was understanding where fantasy ended and reality began; this issue is only something I point out because it complicated my understanding of the plot, simply for logistical reasons.

Nonetheless, there were certain decisions in the play’s execution that I believe were exclusive to this production, though I cannot be sure. (Again, I am not very knowledgeable about the field of acting and theater). For one, the decision to give Minhee an accompanying voice actor to narrate her parts in the script was one that sparked a lot of interest. The voice actress sat at the edge of the stage; when Minhee ‘spoke,’ her lips moved silently. Her ‘voice’ came from the actress sitting in the corner. I found myself talking to the girl next to me about what she thought about this decision, and we actually had two very different opinions about the ideas behind the decision to not give Minhee ‘her own voice’ (her sister, Junhee, voiced her own parts.)

You For Me For You was a play that was enjoyable to watch, yes, but it also sparked a lot of ideas and topics for potential discussion for me. As we exited the theater, my fellow audience members were discussing possible interpretations of several of the more confusing scenes of the play. If you are ever able to view this production in the future, I would highly encourage it. I would also suggest watching with a group of friends, with whom you can discuss the ambiguous scenes and ideas with afterwards.

Image credits: Happening @ Michigan

REVIEW: Chico MacMurtrie: Border Crossers

Jhoanne Castro Leave a comment

A gesture of peace — Chico MacMurtrie’s Border Crossers. Known for his amorphic robotic works, Chico MacMurtrie visits Ann Arbor to work together with a band of driven University of Michigan students hailing from every facet of the university — from the Stamps School of Art & Design, School of Engineering, Ross School of Business, just to name a few — to create more prototypes for his ongoing project, Border Crossers.

It was a windy Friday afternoon, with the occasional glimpse of warm sunlight peeking through the gloomy winter clouds of Ann Arbor, when I approached the UMMA. As I turned the corner, gritting my teeth and bearing the cold, I saw a mass of people gathered around the UMMA’s entrance. I automatically understood for what reason — the students working under Chico MacMurtrie had worked tirelessly on what Chico himself called an “impossible project” and produced their own Border Crosser. And the people gathered around it were watching its unveiling. And I, of course, joined them.

This tall structure was an elaborate contraption that stretched itself further and further into the sky, as if reaching out for something. Despite its deceptively strong appearance, the Border Crosser is actually very delicate, built from relatively thin metal parts and then wrapped by inflated parts. Had the sun hit the Border Crosser, it would be a little more obvious (you would be able to see the structure inside the inflated portions). It swayed in the wind, which seemed to worry the students who worked on this project for weeks, as it continued to bend and stretch delicately.

Evidently, after having talked to some of the participating students as well as hearing it from Chico MacMurtrie himself, this Border Crosser was built with the same intention that all Border Crossers have: to cross borders peacefully, as the name obviously suggests. Actually, though, I had originally thought the name Border Crosser sounded kind of aggressive, because there is so much intent and purpose in the act of crossing borders. When really, once you come into contact with an actual Border Crosser, you would immediately realize how delicate they are.

When asked about the Border Crossers’ fragility, Chico MacMurtrie answered that the Border Crossers are meant to showcase the delicacy of crossing borders. I thought it was very intriguing and very relevant. Chico MacMurtrie’s project, Border Crossers, is the start of a conversation in connecting the world and understanding the fragility of connecting with others, most notably countries that border our own.

Another question posed for MacMurtrie addressed the fact that fences with barbed wire and fences that are bent on maintaining those borders often exist, and that the Border Crosser would likely meet its end in contact with such fences. Chico MacMurtrie chuckled at this question and related it back to the fragility of making connections, as that is what the Border Crossers represent — the action of making a connection, or “crossing borders,” is ultimately a risky feat, and that sometimes there are borders that are harder to cross.

Sometimes there are fences that are built to keep others out, and in understanding the intention of the Border Crossers, watching how slowly and intricately they move to their destination, you understand how difficult and precious of an act it can be. Honestly, just putting my thoughts into words chokes me up a little bit. Maybe it’s the music I’m listening to, low beats and mysteriously sad and profound, maybe the concept behind the work relates to my life personally, maybe it’s the cruelty of reality and the world that we live in, maybe a combination of it all, who knows.

Chico MacMurtrie’s Border Crossers are meant to show connections, and that in itself is such a powerful message, especially in this day and age, where connections are either hard to make or too shallow to really mean anything. Border Crossers are here to remind us of this, not necessarily to encourage crossing actual borders, but rather, to encourage peace between those separated by borders.