Written and directed by Hayao Miyazaki, and released in 1992, ‘Porco Rosso’ follows an Italian WWI flying ace now acting as a bounty hunter targeting “air pirates.” A Strange curse transforms him into an anthropomorphic pig. Magic, action, love and intrigue drive this youthful and entertaining plot.
In honor of National ADHD Awareness Week, Jerry Mills performed Extraordinary: A Concert-Style Journey into the Heart of the ADHD Experience at the Rackham Auditorium this past Thursday. Since being diagnosed with ADHD, Mills has dedicated much of his life to using the performing arts as a vehicle to spread his refreshing views on the link between mental health, education, and identity around the world. Combining storytelling, songwriting, and keynote speaking with active participation from the audience, Mills’ performance was both engaging and meaningful.
Throughout his performance, Mills not only dug into the heart of the ADHD experience, but of educational reform. His experience as both a troubled student suffering from undiagnosed ADHD and an elementary school teacher grant him a uniquely holistic view of the flaws of the one-size-fits-all educational system that dominates the majority of today’s schools. During Extraordinary, Mills conveyed through song and storytelling how he eventually came to believe that something was innately wrong with him solely because his teachers continually told him that his inability to fit this one-size-fits-all mold was abnormal. Using song-writing as a means of self-discovery, he slowly came to realize that the fault lied within the system, not himself. Now, Mills not only uses his song-writing as a continued means of self-discovery, but as a means to spread the message that the world needs all kinds of minds, and the educational system must therefore change in order to better cater to the healthy development of these diverse thinking styles.
Because of these positive and relevant messages his work advocates, I find Mills’ artistic intentions refreshingly genuine. Unlike many performing artists, his pursuit of music and public speaking clearly did not stem from an ulterior motive to become famous; rather, it stemmed from his genuine desire to let those suffering from ADHD know that they are not alone, while simultaneously helping people without ADHD come to a greater understanding of the daily challenges that accompany this mental illness. Ultimately, Jerry Mills not only filled the audience with a childlike, carefree happiness, but with a sense of urgency regarding the need for social change within the spheres of education and mental health.
The Women’s Glee Club started strong in their opening song on Saturday night, singing “The University” to Hill Auditorium. I was pleasantly surprised by the number of students filling the mezzanine, supporting the Women’s Glee Club in their first concert of the year. The theme for this concert was Celebrating Sisterhood, Song, and Strength, and these were found throughout the evening. Song was obviously accomplished by the music they sang, spanning styles and languages from English to Italian to Bulgarian.
The Italian selection “Canzonette a tre” included accompaniment from a violin, viola, and recorder, enhancing the experience to feel more medieval. They sounded excellent together, and I am always a fan of including other instruments to contribute to the sound and atmosphere. Following the Italian pieces was a 6-song string of “Songs for Women’s Voices” by Gwyneth Walker. All poems in English that were put to music, it began with a satire that explained how women should be pedestals that are under men’s command, but concluded with a piece about the power and of a woman’s love. Next was “Ergen Deda”, an up-tempo song in Bulgarian that helped to break up the pace of the concert and give the women something to smile about and move around to. They concluded the first half of songs with “Lux Aeterna”, simply a beautiful composition.
After intermission came Midnight Blue’s performance. The a cappella group performed seven songs, and showed their strength of voices and confidence while they sang beautifully and included some dancing and parodies for the audience to laugh at. A special favorite of mine was “A Netflix World” sung to the tune of “A Whole New World”. A little too relatable, this song made me realize that I’m not alone in how much of life life is motivated or unmotivated by Netflix auto play.
Finally, the concert closed with songs about the University of Michigan, the classics that you hear at tailgates. The bond of sisterhood was evident here as alumnae joined the club onstage. Smiles and hugs were shared as the former members returned to their voice parts, and it was heartwarming to see how much the Women’s Glee Club meant to them even after they had graduated. I know that reconnecting with alumni and forming a base is something that the Women’s Glee Club is working to accomplish, and I think they are on their way to doing so if they maintain the atmosphere of sisterhood.
Overall a great concert, and I am always happy when I attend. I am glad that students are coming to support their friends in the club, and I hope the tradition continues as the Women’s Glee Club grows stronger.
When: Wednesday, November 12 at 8pm
Where: Hill Auditorium
Tickets: none (free)!
U-M School of Music’s two orchestras come together to perform a program that reflects on what it means to be American — from Native American, African American, and Bohemian visitor’s perspectives. The concert with musicians from University Symphony Orchestra (USO) & University Philharmonia Orchestra (UPO) features a movement from William Grant Still’s Afro-American Symphony (1930); Jerod Impichchaachaaha’ Tate’s Tracing Mississippi, a concerto for flute (2001); and finally, Antonín Dvořák’s Symphony No. 9, “From the New World” (1893). I’m sure many of you are familiar with the tune “goin’ home, goin’ home…” Did you know that this is one of the most famous solos for English horn in Dvořák’s “New World” symphony? From rarely performed works to many audiences’ favorite, this concert will surely be worth your attention. Also, this is one of the very rare chances to see School of Music, Theater, and Dance’s Dean Christopher Kendall conduct. Don’t miss out!
Who: The San Francisco Symphony Orchestra, under the direction of Michael Tilson Thomas
What: Mahler’s Symphony No.7
Where: Hill Auditorium
When: Thursday, November 13th, 7:30 (alternate program on November 14 click here for details)
Price: $14-$85
The San Francisco Symphony Orchestra will be in Ann Arbor on the 13th and 14th, bringing the great Mahler’s 7th Symphony along with them. The SFSO is constantly regarded as one of the finest orchestras on the world circuit, and seeing them here at Hill Auditorium is nothing short of a treat.
Mahler’s 7th was written in 1904-05 and marks the composer’s return to his ‘progressive tonality.’ The symphony is roughly 80 minutes in length and is sometimes referred to as Lied der Nacht (lit. Song of the Night) due to its evocation of Nocturnal themes.
ComCo’s show kicked off with a scripted mock trial of the most dangerous outlaw, Edward Schlissel-Hands, played by ComCo player, Sarah Sherman, who donned two oven mitts with printout pictures of UM President Mark Schlissel pasted on them. Each of the ComCo actors then took turns testifying to “the court” as to why Schlissel-Hands should be locked up. One great acting performance especially was done by Guy Madjar, who played a bartender who can identify any victim or criminal just from looking at a picture. Together, the ComCo actors started the night off with great silliness, bring laughter to the 450 person audience at Angell Hall’s Auditorium A, the largest and most hilarious fire-hazard known to Michigan.
While many of the best jokes are too dirty for this blog (and equally could not compare to seeing it live), ComCo not only excels in crude humor but also, in the art of setting up unfortunate scenarios that prove to be hilarious. In a game called “four square,” different scenes are assigned to players two at a time based on suggestions from the audience. One example was “Six Flags” which gave life to a story of a man and his son who are riding the most dangerous roller coaster that no one has ever survived before. Games like this one prove that the more absurd and silly, the more fun you can have.
My favorite game of the show is the finale: “I like my men like I like my ____,” which uses audience suggestions to fill in the blank and then explain in the tag line of the sentence. For example, “I like my men like I like my sandwich—covered in mayo.” Many responses used hilarious euphemisms in order to complete the sentence. Examples from last night included “I like my men like I like my hot sauce – of the Latin American variety” and “I like my men like I like my pencil sharpener – ….” I’ll let you imagine the rest…
Another crowd favorite was a segment called “Dating Game.” Imitating a show like the Bachelor, one player leaves the room, while the three “contestants” stay in the room and are given personalities from audience suggestions. Contestant 1 was a spatula, Contestant 2 was R. Kelly, and Contestant 3 had a fear of apostrophes. The Bachelor’s job was to try and guess what each of the Contestants were based on their answers to his questions. As tricky as it sounds, the Bachelor played by ComCo leader John Dennehy, guessed all of them correctly! Props goes to Kelsey, who played the apostrophe-phobe and entertained the audience with the line “I don’t like my men to be possessive.” Ahhh, such fun.
At the end of the show, it was revealed to us that some of the original founders of ComCo were in the audience. What an honor for them to see how their legacy has been carried on!! I recommend going to the next ComCo show on December 5, and every one after that!!! Free laughter, fun, and appreciation for those who can think up ridiculous material on the spot – a talent that most people can only dream of.
