REVIEW: Joan Baez: I Am A Noise

Ella Larsen Leave a comment

8:30pm • Thursday, Oct. 19, 2023 • Michigan Theater

Joan Baez: I Am A Noise is a deeply introspective documentary delving into the life of legendary folk singer and activist Joan Baez. The film navigates the intertwined themes of family history, relationships and mental health running through Baez’s experiences, weaving together an intimate picture of a public icon’s private life. 

One of the central themes explored in the film is Baez’s lifelong struggle with mental health. Using archival footage, drawings, diaries and letters between Baez and her family, the film sheds light on the alternating anomie and anguish she faced privately during the peak of her career. Baez’s candid discussions about the feeling of being “broken,” inhabited by a “darkness” she sometimes describes as “demonic” illustrate how she characterizes her own mental health. Baez uses words like “crazy” to describe herself during her son’s early childhood, conveying her feelings of failure and inadequacy as a parent during that time, as well as reflecting cultural narratives about women, motherhood, and mental health. 

As I watched the documentary, I kept thinking about how Baez’s pain might have been alleviated had mental health been less stigmatized and better understood earlier in her life. There was a sense of helplessness in the way Baez described her and her sister Mimi’s struggles to understand and live with their mental turmoil. Their experiences represent those of countless others who, even now, don’t have access to a common language to express or understand these problems. My overwhelming thought for the Baez sisters and others was, “I wish we could have cared for you better.” 

For me, one of the most intriguing aspects of the film is Baez’s exploration of childhood traumas through hypnosis. Using hypnosis, Baez identified abstract parts of her own consciousness, such as “Diamond Joan,” enabling her to piece together fragments of memories from her childhood. The documentary conveys these “parts” with some ambiguity, reflecting the tension around how Baez and her family conceptualized the process. Both Baez and her family sometimes refer to these fragments as “personalities,” elements of a dissociative identity disorder, implicitly discrediting the process with some level of “craziness.” 

I appreciate how Baez’s revelatory process challenges conventional notions of reality and what is “really real.” Baez asserts that the experiences she remembers from her childhood are no less “real” to her, even if they didn’t conventionally “happen.” This feels like a particularly valuable perspective in our present historical moment where we are constantly reckoning with past wrongs. Often, it is essential to set aside our personal reality so we can hear and empathize with someone else’s. 

REVIEW: Shoebox

Ella Larsen Leave a comment

7:15pm • Wednesday, Oct. 18, 2023 • State Theater

Shoebox was a thought-provoking film that stood out for its deliberate and introspective approach to storytelling, coupled with cinematography that beautifully captured a city in transition. The story, which took place in Allahabad on the cusp of its renaming, followed Mampu as she watched her father struggle to maintain his deteriorating movie palace in the midst of a health crisis. The narrative drew me slowly and quietly into a world where local politics intersected tragically with personal daily struggles.

One of the standout features of Shoebox was its cinematography. The film took its time, offering long, meditative shots of a city in the midst of transformation. These visuals provided a vivid backdrop to the characters’ lives, showcasing the beauty and decay of the urban landscape. Allahabad itself became a character in the film, reflecting the societal shifts and economic challenges faced by its inhabitants. Each frame was a work of art, and the cinematographer’s mastery was evident in every scene.

For me, the most meaningful aspect of the film was its understated portrayal of Mampu’s struggles to care for her father against a backdrop of corrupt politics. The characters’ daily lives were punctuated by the effects of political decisions made far beyond their reach. The powerlessness of the family was palpable, and their attempts to navigate a system riddled with corruption were both poignant and frustrating. Mampu’s experience reflected that of many who had to choose between protesting the injustices dealt to them and protecting themselves and those they cared for.

One of the most impactful moments in the film occurred during a simple yet profound scene involving a pack of cigarettes. This moment of intimacy between Mampu and her father became a lens through which the family’s dynamics were clarified. It revealed the unspoken connections and tensions that existed within the household, adding depth to their characters and relationships. This subtlety in storytelling was another of the film’s great strengths, showcasing the actors’ ability to convey emotions without the need for grandiose displays of drama.

In conclusion, Shoebox was a mesmerizing and quietly powerful film that invited viewers to contemplate the intersection of personal and political challenges. Its deliberate pacing and exquisite cinematography created a sense of immersion in a world where beauty and decay coexisted. The film’s understated storytelling style allowed the audience to connect deeply with the characters. Shoebox was a masterclass in subtlety and a testament to the impact of quiet moments in cinema. It was a poignant exploration of the human spirit in the face of daunting challenges, leaving a lasting impression long after the credits rolled.

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

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*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: Seoul Station

Sappy Leave a comment

*Played at the State Theatre on October 6th and 12th*

Despite being produced in the same year and by the same director, Seoul Station (2016) is the lesser-known prequel to the famous movie Train to Busan (2016). Interestingly enough, Seoul Station is an animation whereas the latter is a live-action film. The director Yeon Sang-ho is well known for his brutal stories, and while I haven’t seen Train to Busan yet, Seoul Station certainly did an excellent job of portraying not only the brutality of a zombie apocalypse but also the social disparities between income classes, especially emphasizing the discrimination against the homeless community.

There were three main characters: Hye-Sun, her boyfriend Suk-gyu, and her father Ki-woong (in the featured image, Suk-gyu is on the left and Ki-Woong is on the right). Like a typical zombie movie, the plot revolved around survival. However, Hye-Sun and Suk-Gyu were in the lower class and that was already enough of a struggle before being further exacerbated once hell broke loose. To me, what was most interesting wasn’t their endeavors to live, but rather the humorous character dynamics and the focus on economic differences, which I felt to be the true horror highlighted by the writers. The wealthy were rarely, if not never, featured. 

In Seoul Station the color palette was very grim and muted; even the bright pink of Hye-Sun’s dress appeared gray. I enjoy watching animated films, but I haven’t seen many Korean ones. The character designs were realistic and diverse, which I felt made the animation pop due to their facial expressions. The voice acting hit differently, too, because the characters had similar voices to people I know. However, the animation itself didn’t flow as smoothly as I expected. In the beginning, it felt clunky, but I quickly adjusted and didn’t pay much attention to it afterward. My favorite part was the incredible plot twists, which were so shocking I couldn’t stop talking about it with my friends after. In fact, a majority of the audience gasped at one specific scene and the excitement rose in the theater. 

I heard from others that although it’s meant to be a prequel, the two movies are surprisingly disconnected from each other. It apparently didn’t add much to the storyline of Train to Busan and would’ve been normal to be a separate world. Since I haven’t seen Train to Busan I unfortunately can’t compare the two very well, but I’ve always wanted to watch it. I’m excited to see more of Yeon Sang-ho’s work, especially since it’s such a praised movie. If you’re looking for a funny horror movie that also implies a deeper meaning, I recommend Seoul Station! It’s a shorter movie, around an hour and a half, so it’d be a good film to engross in during a busy time like midterm season!

 

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.