Tag: Comedy

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: The Government Inspector

Sappy Leave a comment

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.

REVIEW: Mickey 17

Madi Hammond Leave a comment

Science fiction meets satire in an explosive way in “Mickey 17” — but there is simultaneously too much and not enough of either.

Set in 2054, main character Mickey Barnes (Robert Pattinson, “The Batman”) signs up to be an Expendable on the newest space colony expedition to Niflheim after receiving death threats from a loan shark following a failed macaron business venture with his best friend, Timo (Steven Yuen, “Beef”). However, he soon realizes that not reading the paperwork thoroughly was a mistake. As an Expendable, Mickey is sent to do the most dangerous jobs and used as a human guinea pig for the research team onboard. Every time he dies, his memory is simply reuploaded into a newly reprinted version of his body. Meanwhile, failed politician Kenneth Marshall (Mark Ruffalo, “The Avengers”) commands the future colony full of his red-hat-wearing fans with a camera crew in tow, undeserved bravado, and promises of one day reproducing to make a “pure race.”

Once they reach the famed planet, however, native creatures they name “creepers” become a barrier to breaking ground. During an exploratory mission, Mickey miraculously survives a terrible fall. But by the time he makes it back to the ship, another Mickey has already been reprinted; and with “multiples” strictly forbidden under penalty of death, the angrier Mickey 18 and a milder Mickey 17 must keep their existence under wraps.

“Mickey 17” is director Bong Joon Ho’s most recent project after his award-winning film “Parasite.” Bong’s newest film is an amalgamation of genres: satire, horror, science fiction, and comedy, with a few touchingly romantic moments. From start to finish, the film is defined by absurdism. Mickey’s failed business, which was based around misunderstanding that “macarons are the new hamburgers,” sets the tone for a protagonist who has stumbled into something far beyond his understanding.

Ruffalo’s character, while officially inspired by an amalgamation of different tyrannical rulers, reads (at least to the audience at the showing I attended) as a parody of Donald Trump. His reality show-style governance, blonde wife, and red-hat-wearing followers make the connection undeniable. While this satire is amusing at first, its relentless intensity becomes exhausting over the two-hour runtime, growing more repetitive than revelatory.

Pattinson, on the other hand, carries the film with an engaging performance that oscillates between bewildered desperation and deadpan humor. His portrayal of both Mickey 17 and Mickey 18 gives each iteration of his character a distinct edge, subtly differentiating their personalities with their motivations, mannerisms, and even accents. However, the film never quite allows him to fully explore the psychological implications of multiplicity, treating the idea of splitting consciousness as more of a plot device than a deep thematic concern.

Despite its many strengths, “Mickey 17” ultimately feels unfocused. Is it a commentary on environmental protectionism? A philosophical exploration into the implications of dividing consciousness? Or an elaborate vessel for scathing critique of right-wing politics? It might be all of these things, but none stand out as the film’s central thesis.

The concept of the Expendables had the potential to be something profound, but instead, the film brushes past it in a brief flashback explanation about why reprinting technology is only allowed on Earth. This missed opportunity leaves “Mickey 17” feeling like a film bursting with ideas yet unwilling to fully commit to any of them. While entertaining, it leaves the audience wondering: What was the ultimate point?

REVIEW: Mary Poppins

Sappy Leave a comment

I had fond feelings but not much memory of Mary Poppins (1964), so when the Michigan Theatre showed this iconic, classic film, I was excited to re-explore the magical wonders and musical adventures the movie took me on in elementary school. At first, I feared the story would be too childish to enjoy, but I had a rather pleasant experience even as an adult.

The story takes place in early 20th-century London and around Jane and Michael Banks, the troublesome and ill-mannered children of George and Winifred Banks. Though wealthy and of respectable status, George and Winifred are emotionally distant parents. After Jane and Michael keep chasing away the nannies Winifred hires, George decides to take matters into his own hands and find the strictest nanny possible. Against his expectations, Mary Poppins arrives and immediately captures the innocent hearts of Jane and Michael with her rosy cheeks, magic items, and mysterious background. With Bert, a cheerful and kind street musician who works multiple odd jobs, Mary Poppins brings the children on unimaginable journeys while instilling discipline and moral principles through fun songs. Though written for children, the musical quality and melody of the songs in Mary Poppins, such as “A Spoonful of Sugar,” “Feed the Birds,” and the legendary “Supercalifragilisticexpialidocious,” captivate audiences of all ages.

I was most surprised by Mary Poppins’ stoic, strict, and prideful personality because I imagined a nanny to possess a more soft-spoken and gentle quality. However, actress Julie Andrews’ portrayal of confidence and quiet kindness brought to life the perfect nanny for Jane and Michael, who did not have a consistent adult figure in their lives. In contrast to Mary’s authoritative demeanor, Dick Van Dyke’s character, Bert, is goofy and nurturing in his own way. His Cockney accent and regular fourth-wall-breaking antics bring a lighthearted energy and make each scene more immersive.

I can see why this movie made such a deep impression on me as a kid. For younger audiences, Mary Poppins is a film that fosters imagination in the mundane scenes of daily life, inspires hope for a more exciting future career, and helps children identify the simpler joys in even doing chores. On the other hand, for adult viewers, this movie serves as an example of good parenthood and an exploration of family dynamics, specifically highlighting how misunderstandings and emotional neglect can influence children. This thematic element encourages adult viewers to evaluate the method and significance of nurturing emotional bonds within their own families.

Although the storytelling starts strong while setting the scene and introducing the main characters, the plot grows frustratingly slow without much character development or world-building, which is when I had to remind myself that children are the target audience. Even though this movie does not demand a re-watch, Mary Poppins deserves its name as a beloved classic and enjoyed best as a leisurely, nostalgic experience.

REVIEW: Nate – A One Man Show

Maeve Ricks Leave a comment

Have you ever felt your jaw ache from being dropped in shock for a whole hour?

No? Oh, well, that’s too bad. You sure are missing out… To experience it firsthand, go see Nate – A One Man Show. 

In its 146th season, the University Musical Society (UMS) presents Nate – A One Man Show (Nate for short), as its penultimate showing in its fourth iteration of the “No Safety Net Series.” This series of performances promises “audiences a platform to engage with high-impact theatre that challenges conventions and confronts complex themes head-on.” Nate is no exception. 

Created and performed by Natalie Palamides, Nate – A One Man Show is an hour long comedy performance that shocks and shines through the smoke of fake Marlboro cigarettes. Performing entirely in drag, Natalie becomes Nate: a shorter and overconfident look alike to the Brawny paper towel man who sports a cowboy mustache, black eye, and cargo pants. 

From start to finish, Nate shocks, disgusts, and humors the audience. Palamides plays an exhibitionist who demands applause and validation, and the audience willingly gives it up. As Nate quips, “bitches be thirsty.” And we sure are, drinking up every crude joke, racy pose, and can of free LaCroix that Nate hands out. 

Nate pouring LaCroix down his face to simulate crying
Nate pours a can of LaCroix down his face to “feel something.”

Speaking of liquids, beware the splash zone! Nate has a tendency to spray the audience whether it’s from the cans of LaCroix he shotguns or the shower he takes in a kiddy pool. I sat in the mezzanine thanking G-d that I wasn’t anywhere near the chaos of this show. Audience participation is voluntary, of course, but, as this show examines, consent isn’t always black and white. 

Throughout the show, Nate asks many audience members (and the stray mannequin) for consent to interact with them in whatever raunchy way the show calls for. Even a general liability waiver is signed at one point. Beyond legal documentation, the show’s usage of asking for consent highlights the grey areas in which we ask for and give consent. This important conversation, masked by comedy, asks more questions than it answers, leaving me with a sour, but welcome taste in my mouth. 

Behind the absurdity that Nate presents, lies a familiar, yet unstated debate: man vs bear. Recently a point of division on social media, the debate asks “would you rather be alone in the woods with a man or with a bear?” In this case, would you rather be alone in the theatre with Nate or with a bear? 

Maybe someday we will have answers to these questions. Maybe one day, it’ll be easier to be alone with someone like Nate in the woods. For now, though, Nate will continue to ride his toy motorcycle into theatres across the globe, and audience members will continue to drive their cars to these theatres to feel the weight of their jaws on the floor. 

 

If you weren’t able to catch Nate in Ann Arbor this February 5th-10th, you can watch Nate – A One Man Show on Netflix.

REVIEW: Wicked

Sappy Leave a comment

After several disappointing movie-musical adaptations in recent years, I was skeptical that Wicked would be any different. As the first musical I had ever seen, and on Broadway in New York no less, I had especially high expectations. However, I was pleasantly surprised to discover that the hype surrounding the movie was justified. Under the guidance of director Jon M. Chu, with a talented main cast including Ariana Grande (Glinda), Cynthia Erivo (Elphaba), and Jonathan Bailey (Fiyero), Wicked offered a refreshing take with a charm that still retained the essence of the Broadway play that sparked my love for musical theatre.

Based on Gregory Maguire’s novel Wicked, the story is a prequel to The Wizard of Oz. The main character, Elphaba, grows up experiencing hardships due to her unusual green skin. Ostracized by even her own family, she is nonetheless loved by her nanny. Because of this, she grows up with a pure heart. When she sends her younger sister to Shiz University, Elphaba catches the eye of Madame Morrible, played by Michelle Yeoh. Morrible is a famous magical history professor and the object of admiration for Glinda, a beautiful and popular girl who has lived a life essentially the opposite of Elphaba’s. As the story progresses, it explores the complex relationship between the two women. Their character development is one of the highlights of the story, touching on themes of friendship, values, purpose, and societal expectations. Grande and Erivo’s chemistry, both on and off screen, brought this relationship to life brilliantly. 

Despite both the musical and the movie running for roughly three hours, the movie only covers half of the original story. I did feel that the pacing dragged at times, with the plot progressing slowly—almost frustratingly so. However, this slower pace gave more creative freedom to the director and actors. Compared to the stage production, Elphaba and Glinda felt more alive in this version. Their characters were more developed and complex, which created a deeper connection with the audience. I particularly enjoyed Glinda’s nuanced portrayal, whereas in the play, she seemed more ditzy and one-dimensional.

Though I find live singing and dancing more impactful, the movie was still incredibly immersive. The film’s close-up shots of the characters, their costumes, and facial expressions added a level of intimacy that the stage production can’t match. The lighting and camera angles also contributed to a richer atmosphere. The movie was visually striking and the vivid colors truly brought the fantasy world of Oz to life. These added details allowed for more foreshadowing, extensive world-building, and deeper character development. It never felt like a simple recording of the play. 

A friend of mine, who is more versed in musical theatre techniques, also offered some insightful commentary on how film is a unique medium. On stage, only those sitting in the front row get to see the actors’ faces clearly, and even then, it’s impossible to catch all the small details. It’s difficult to compare movies and theatre because they offer different experiences and strengths. Perhaps that’s why I remain skeptical about many movie-musical adaptations retaining a high quality—they’re often unfairly compared to the original. Nevertheless, Wicked is proof that a great musical-movie adaptation is possible.