Tag: Ann Arbor

REVIEW: Disney’s Snow White

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In this 2025 live adaptation of Disney’s 1937 film Snow White, Rachel Zegler plays the part of Princess Snow White, a young woman who is mistreated by her evil stepmother, known as the Evil Queen. The Evil Queen is jealous of Snow White for her beauty and kind heart, and thus sends her outside the castle to be killed. However, Snow White escapes and goes on an adventure in which she meets seven dwarves and a group of thieves led by a young man named Jonathan, and eventually confronts the Queen herself.

One aspect that I admired about this film was Rachel Zegler’s musical performance. The emotion she puts into performing is captivating, as one can clearly tell she puts her heart and soul into singing to really bring Snow White’s character to life. Gal Gadot also does a good job portraying the evil queen. Her subtle facial expressions and movements really convince the audience of the queen’s evil nature.

Although this film had many endearing parts such as the cute forest animals that Snow White befriends and the characteristic catchy Disney songs, there were some aspects of the film that I thought were lacking. The overall pacing of the movie felt very inconsistent. Some scenes were drawn out and felt almost boring, while others felt choppy and rushed. There were some key moments that felt a lack of buildup in emotional intensity, leading to abrupt scene changes. However, this could be due to the director wanting to market the movie towards more younger audiences, and so they may have decided to cut out any scenes that would be too intense. I enjoyed how there were a couple instances in which the Seven Dwarves made jokes more catered to adults but were innocent enough that it could be included in a children’s movie.

I also noticed that the costumes on both Snow White and the Evil Queen were noticeably tacky and looked out of place from the film. They looked similar to the Halloween Costumes found in retail stores for children to wear. However, I realize that this is not that important to the overall plot of the film, and is just something that I noticed.

The film kept to the original in some parts but strayed from the original in others. For example, the seven dwarves and their iconic personalities were kept in, as well as the Evil Queen’s magic mirror and poison apple. However, they added the young thief Jonathan and his group of bandits as a replacement for Prince Charming. I thought that made a lot of sense to do because in the original, Prince Charming does not have much of a role in the film.

Although Snow White (2025) was not a tear-jerking, awe-inspiring film, it also was not terrible. The two main actresses did a phenomenal job and the movie still kept its feeling of having Disney magic. However, the film lacked a more deep and thoughtful plot and had an inconsistent flow to it, and so would likely be more enjoyed by young children and their families for a light-hearted movie night.



REVIEW: The Dark Knight

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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

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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.

Review: The Music of Studio Ghibli

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Photos are provided by the Ann Arbor Symphony Orchestra

On Saturday, March 15, and Sunday, March 16, the Ann Arbor Symphony Orchestra gave their highly anticipated performance of The Music of Studio Ghibli under guest conductor Wilburn Lin at the Michigan Theater. The program consisted of music all composed by Joe Hisaishi, including the Symphony Variation: Merry-Go-Round/Cave of Mind (from Howl’s Moving Castle, 2004), Orchestra Stories: My Neighbor Totoro (1988), Kiki’s Delivery Service, and Spirited Away. 

Howl’s Moving Castle is one of my favorite Ghibli films, so I was delighted that its music opened the night. Because Merry-Go-Round of Life is an incredibly iconic piece and so well-known, I was a bit afraid that the performance would deviate from the original score or lack the same musical satisfaction. However, the orchestra’s rendition was beautiful. The canonic melody seamlessly weaved between the different string and wind instruments, and I particularly liked the pizzicato variations from the strings. My only complaint is that it could’ve gone longer, though I might be biased because I love the piece so much. Though the next part of the variation, Cave of Mind, is a piece I don’t often listen to, I got goosebumps because the brass solo makes it a hauntingly beautiful piece, and I could vividly recall the exact scene where this soundtrack is played during the concert.

The performance of Orchestra Stories: My Neighbor Totoro was interesting because the orchestra decided to add Japanese narration, spoken by Momo Kajiwara, to further enhance the storytelling. To be honest, I don’t love this movie because I don’t find the plot to be that engaging, but this addition made me see the film in a different light. The narration was splitinto eight different sections that summarize the movie’s plot with an English translation provided in the program, and it helped paint the innocent and mystical atmosphere of the movie for those who were unfamiliar with it. Furthermore, I love Totoro as a character, so I found it endearing that there was also someone dressed as Totoro to take pictures with.

The next feature was Kiki’s Delivery Service. I was taken aback by how short the piece was (or maybe I just found it so enjoyable that I got lost in time). Nevertheless, the performance of Kiki’s Delivery Service stood out to me among the rest of the program because of the concertmaster spotlight. The violin solo’s melody differs from the main theme, making it a fun addition to the piece as a whole, and the concertmaster played with a beautifully pure and clean tone.

The night then concluded with the Spirited Away Suite. Spirited Away is one of my favorite Ghibli films alongside Howl’s Moving Castle, so I was blown away by how similar the orchestra’s rendition of Spirited Away was to the original soundtrack. Furthermore, the gorgeous and somber piano melody further enhanced the quality of the music. 

Overall, I loved this concert. It was my first time getting to see the Ann Arbor Symphony Orchestra perform The Music of Studio Ghibli, and it will most definitely not be my last.

REVIEW: Stefan Jackiw Plays Tchaikovsky

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Photos are provided by the Ann Arbor Symphony Orchestra

The Ann Arbor Symphony Orchestra’s February 2025 MainStage took place on Saturday, February 22, at 8 PM in the Michigan Theater, and alongside performing Montgomery’s Overture and Shostakovich’s 10th symphony, theyaccompanied violinist Stefan Jackiw who gave a phenomenally clean and vibrant performance of the Tchaikovsky Violin Concerto in D Major.

The Overture was the first piece in the program. It was my first time hearing Jessie Montgomery’s Overture, but it was incredibly enthralling. The piece opens with strikingly dissonant chords played by the entire orchestra that serves as a unique melodic line. These chords continue to be the main feature before the violins begin to take over with faster-moving notes that are then accompanied by changing chords in the brass instruments. Overall, it was a piece that can be largely described as a musical cacophony and served as a great introduction before moving on to the brighter melody of the violin concerto, which was the highlight of the night.

Similar to many other members of the audience, Tchaikovsky was the main reason why I wanted to attend this concert, as it’s one of the most famous violin concertos. The concerto’s grand melody truly makes the violin sing, which requires the soloist to have a high level of technique. The first movement, Allegro moderato, opens with a gentle melody from the orchestra that slowly builds up to the soloist’s entrance, which is low and soulful and evokes a sense of yearning that Jackiw’s strong vibrato captured perfectly. As the melody continues to ascend in pitch, its playful character grows and flourishes with runs before once again blending into a more soulful tune. I particularly admired Jackiw’s ability to bring out a full sound during each note no matter how short while using the full length of the bow, which requires accurate control of the bow’s weight with your hand. 

The second movement, Canzonetta: Andante, similarly opens with a slower-moving melodic line from the orchestra. However, the soloist’s entrance remains somber and slow for the majority of the movement, a tasteful contrast to the preceding flightful first movement. 

The opening of the third movement, the Finale: Allegro vivacissimo, is then startling. The orchestra is silent as the soloist’s part features strong, rich chords that Jackiw still manages to play with a clear and bright tone. He retained this brightness throughout the whole concerto, which was especially impressive during the last movement as it’s twelve minutes long, and it’s many character changes. The last section of the finale which consists of fierce spiccato was especially impressive, and spectacularly concluded the end of his performance.

Though I love Shostakovich, it was hard to imagine how the last piece of the program, Shostakovich’s Symphony No.10 in E minor, would make for a more satisfying conclusion to the night than the Tchaikovsky. The Moderato begins somberly slow, but the second movement, the Allegro, picks up and starts to set a frantic, anxious atmosphere that often comes with Shostakovich’s music. The character of the piece was fleshed out even more once the short, staccato notes opened the third movement, the Allegretto. Though the mood this piece evoked was much more different than the Tchaikovsky—much less cheerful—the ending of the finale was just as grand with fast notes from the violins and loud chords from the brass.

Overall, I enjoyed this concert. I am so happy I got to hear the Tchaikovsky Violin Concerto live, and Stefan Jackiw did an amazing job at bringing the piece to life. Though he’s a soloist I hadn’t heard of before I’ll keep an ear out for him moving forward.

 

REVIEW: The Government Inspector

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Photos are provided by Peter Smith Photography

Directed by Malcolm Tulip from February 20-23 at the Arthur Miller Theatre, students from the School of Music, Theatre, and Dance performed Jeffrey Hatcher’s adaptation of the musical The Government Inspector by Nikolai Gogol. Though I was disappointed by the lack of singing and dancing in the production that typically characterizes a musical, it was still enjoyable to watch because of the goofy characters and comedic plot twists. In addition to the great acting, the outfits and set design further added to the immersive setting and made it a satisfying experience.

The plot takes place in a small Russian town in the 1830s. When the greedy and corrupt mayor, Anton Antonovich (played by Fabian Rihl), realizes that a government inspector has come for a visit, panic ensues as he and other high-ranking residents such as the judge, hospital director, and school principal attempt to win the inspector’s favor and cover up their misdeeds. However, their efforts are in vain due to mistaking the inspector for another visitor, Hlestakov, who relishes in their attention and money while continuing to hide his true identity as a depressed, low-level servant.

Though there was a short musical number introducing each character at the beginning, it was hard to keep track of them all because of the vast number of characters and their Russian names. Nevertheless, my favorite part of the musical was the characters. I loved the character dynamic between Hlestakov, played by Sam O’Neill, and his servant, Osip, played by Vanessa Dominguez. Hlestakov’s pathetic personality accompanied by Osip’s cold-hearted demeanor made them a hilarious duo. Similarly, I also loved watching the hospital director, played by Christine Chupailo, and the doctor, played by Gabriel Sanchez. Because the doctor didn’t speak the native language, the comedic timing of their messy dialogue made me laugh throughout the whole musical.  

I particularly enjoyed watching the chaotic interactions within the mayor’s family. The mayor and his wife have a tumultuous relationship with each other and their daughter. However, Hlestakov’s arrival adds fuel to the chaos as he begins to get romantically involved with the mayor’s daughter, Marya Antonovna, and his wife, Anna Andreyevna. Student Nova Brown’s portrayal of Anna was especially amusing because of Anna’s bold flirting and her promiscuity. Furthermore, it was interesting to see how their indifferent daughter, played by Kristabel Kenta-Bibi, flirted with the mayor in comparison. 

Overall, though I wish there was more music involved, I highly recommend seeing this show. The unique characters and satirical plot made the whole audience laugh, yet it was still able to highlight the consequences of human greed and stupidity.