Tag: Dance

REVIEW: Look-Alike Dance Performance At Dearborn

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Photo Credit: IGSAB

The Look-Alike Dance Performance, presented by IGSAB, transformed Kochoff Hall into a stage for some of the most captivating performances of the night on January 24th. This unique event challenges dancers to embody the styles and personas of iconic performers, paying tribute while adding their own artistic flair. With a lineup of around a dozen participants, each dancer was either preselected or volunteered to represent a well-known figure, ranging from Bollywood superstars to classical legends. Some performances were solo acts, while others featured duets or group numbers, creating a dynamic and diverse showcase of talent.

 

 

Photo credit: IGSAB

Rohan Mehta delivered an electrifying performance inspired by Bollywood superstar Hrithik Roshan, known for his foot-tapping numbers and effortless moves. The moment Rohan stepped on stage, he exuded confidence, and his dynamic presence instantly captured the audience’s attention. His footwork was razor-sharp, every turn executed with finesse, and his energy never wavered.

What set Rohan apart was not just his ability to replicate Hrithik’s style but his command over the stage. He didn’t just perform; he owned every beat, letting the rhythm drive his movements. His transitions between power moves and fluid sequences kept the audience engaged, and his charisma added a natural flair that made the performance all the more compelling.

However, at times, the transitions between sequences felt slightly abrupt, making certain parts of his act seem less seamless than they could have been. Despite this minor flaw, Rohan’s presence and energy made up for it, and the crowd responded with resounding applause. His ability to engage the audience and maintain his stamina throughout a demanding routine spoke volumes about his dedication to the craft.

Photo Credits: IGSAB

On the other end of the spectrum was Sana Malik, who embodied the grace and elegance of Madhuri Dixit in Dola Re Dola. As she stepped onto the stage, adorned in a flowing green and gold costume reminiscent of Devdas, a wave of excitement rippled through the audience.

Her performance was a masterclass in classical dance, marked by delicate yet powerful movements. Every footstep was placed with precision, her hand gestures flowed effortlessly, and her expressions told a story that resonated with the audience. Unlike the high-energy performances of the night, Sana’s act was all about finesse; she captivated not through speed or power but through sheer artistry and control.

While her technical execution was flawless, adding a bit more audacity—stretching her movements farther, expanding her presence on stage—could have made an already stunning performance even more powerful. Classical dance thrives not only on precision but also on projection.  Still, her mastery over the art form was undeniable, and she left the audience in awe.

Both Rohan and Sana brought something uniquely beautiful to the stage—one with raw, explosive energy and the other with poised, classical elegance. Together, they embodied the true essence of the Look-Alike Dance Performance: movement, talent, and transformation.

More than just a showcase of mimicry, the event was a celebration of dance as a performing art, blending cinematic inspiration with personal expression. As the night came to a close, the energy in the room remained high, a testament to the lasting impact of these unforgettable performances.

REVIEW: Wicked

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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.

REVIEW: Twelfth Night

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Photos are provided by Peter Smith Photography

From October 10 to 13, the School of Music, Theatre, & Dance presented a musical adaptation of William Shakespeare’s Twelfth Night. The witty script combined with the students’ incredible singing and dancing made it such an enjoyable experience that I ended up watching it twice. 

The performance took place in the Lydia Mendelssohn Theatre, which although a little small, is actually my favorite venue for musicals. The charming, comfortable velvet seats and the excellent acoustics ensure that every line and lyric is crystal clear. The actors also make creative use of the entire space by entering and exiting through aisles and side doors instead of always walking backstage, and this added interaction with the audience made the show feel all the more immersive. The set design for Illyria, a mythical city surrounded by water, was stunning: the intricate details of the staircase, balcony, and guardrails added realism, while the bright colors and decorations created a whimsical atmosphere.

The first musical number that stood out to me was “If You Were My Beloved,” performed by Viola, Olivia, and Orsino. Viola’s youthful, endearing voice accidentally captures Olivia’s heart, embodying the innocence and purity of the kind of love Olivia has been longing for. Olivia’s bright and powerful voice conveys the excitement of newfound love, radiating optimism and hope for her future romantic pursuits. Lastly, Orsino’s deep, charismatic voice reflects the depth of his persistent and long-held admiration for Olivia. Despite their conflicting interests while singing these lyrics, the trio harmonizes beautifully, hinting at the tangled and humorous love triangle filled with misunderstandings and unexpected twists.

Another memorable number was “Is This Not Love?” Feste’s soulful tone beautifully captured the yearning and frustration that come with being in love. This exasperation was further amplified through the choreography where Viola and Orsino would reach out for each other without ever fully connecting, underscoring the emotional distance between them. A particularly powerful moment featured Orsino spinning Viola in the air; despite their physical closeness, their emotions remained unspoken.

Funnily enough, it was “Count Malvolio” that left the deepest impression on me. I loved the playful costumes of the backup dancers that mirrored Malvolio’s outfit, and their addition allowed for a grand choreography filled with silly gestures that perfectly captured Malvolio’s ambitious dream of becoming a count. With its humorous lyrics and catchy chorus, I found myself singing it for days afterward.

Overall, each musical number was a joy to experience, and I left the theater excited to listen to them again. However, I found myself disappointed with the recordings I found online, since they lacked the vibrancy and emotional depth that made the live performances so special.

Watching the show from two different perspectives—the main floor the first time and the balcony the second—provided me with more ways to experience the performance. From the balcony, I could appreciate the full scope of the choreography, from the various formations to the synchronization. On the main floor, however, the experience felt more cinematic; the singing was more immersive and the actors’ facial expressions brought the romantic tension and developments to life. Honestly, if given the opportunity, I would happily go back to watch the musical a third time and re-experience the beauty of Illyria once more with SMTD.



REVIEW: A Night of Swing at UM-Dearborn

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Earlier this week, the University of Michigan-Dearborn campus came alive with the sounds of brass horns and swing beats, as Swing Dearborn hosted “Dance Night” with its own performances. What I witnessed was a vibrant celebration of dance, led by Swing Dearborn Vice-President Gabriel Fritz and while I did not know what to expect walking in the room, I walked out with my heart filled with appreciation.

The performances were split into four sets, each offering a different flavor of swing dance. The first routine opened with a classic Jitterbug, with Fritz leading the group. From the very first beat, I was being told a story. His movements were crisp and full of energy, and the way he was able to connect both with us, the audience, and his partner, was enthralling. There was a joyful bounce in every step, and the chemistry in the air was palpable. The playful dips and spins were perfectly timed with the music, creating a visual feast that drew me in. The movements were a conversation.

The second set introduced the Lindy Hop, a faster, more intricate dance style. Here, you could really see what Fritz specialized in. His footwork was precise, and his command of rhythm was impeccable. He transitioned from one complex move to another and it all felt very effortless and smooth. His partner mirrored his energy, and together they created a dynamic performance full of bold aerials and impressive lifts. It reminded me of the sheer physicality required for this style of swing, and I found myself in awe of their stamina and grace.

By the third performance, the mood shifted to something slower and more intimate, with a sultry blues number. The fluidity of his movements during the slower tempo was mesmerizing, and it showed me a different side of swing.—one that’s more about connection and subtlety. This performance felt personal, as if I was ”people watching” the dancers as they communicated with each other through their dance.

The final set was a group performance, featuring both experienced dancers and newcomers and although the ensemble was slightly less polished, it added to the charm of Swing Dearborn. It reminded me how swing was about having fun, rather than it being perfect all the time. I was surrounded by laughter, missed steps, and joyful recovery. Watching everyone be so immersed in the moment was beautiful.

After the performances, the audience was invited to join a 15-minute hands-on lesson and joining them is one of the best decisions I made that night. I thoroughly enjoyed the end of it all. Overall, the event showcased not just the technical brilliance of swing dance but also its capacity to connect people and spread joy. Whether you were an experienced dancer or stepping onto the floor for the first time, the energy of the evening was contagious, leaving everyone with a spring in their step.

REVIEW: A Little Night Music

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A Little Night Music, based off of the movie Smiles of a Summer Night, was an exciting and jaw-dropping musical full of plot twists and shocking revelations that uses humor, song, and dance to portray infidelity as a romantic comedy. Set in 1900 Sweden, the story revolves around a messy love web between a lawyer, Fredrik Egerman; Fredrik’s wife, Anne; a famous traveling actress, Desirée Armfeldt; Desirée’s lover, Count Carl-Magnus Malcom; and the Count’s wife, Charlotte.

The drama between the characters shows the darker side of romance in a sarcastically endearing way. The men are ungrateful towards their partners but down bad for Desirée, which is what generates the jealousy that pushes the plot forward in unexpected ways. The entire time I was on the edge of my seat, uncertain where the story was taking me. The ending was bizarre yet satisfying: happy yet bittersweet. Afterwards, I had a lot of fun talking to my friend about all of the twists and turns in A Little Night Music, which for me is what set it apart from the other musicals I’ve watched. It was a story completely different from what I expected when reading the description of the plot online.

The students really brought this show to life; their voices perfectly replicated the classic European noble accent. The wardrobe was gorgeous, particularly Desirée’s deep red dress and Charlotte’s dark blue dress, a contrast that hints at their differences and heavy animosity. I was also very impressed by the live playing of the cello and piano on stage, as it was my first time seeing instruments played on stage by the actors and not by the musicians in the pit orchestra. Especially the student who portrayed Fredrik’s son, Henrik, who played the cello with a very good tone and vibrato. 

My favorite song would be “Send in the Clowns,” sung by Desirée as she discovers that love doesn’t always go as predicted. The lyrics were relatable and the emotion in her voice mirrors lots of the experiences people face in romance today. This is the last musical I’ll see this semester and was a fun one to review. If you’re looking for something to betray your expectations, then A Little Night Music is for you!

REVIEW: KASA Culture Show 2024 — Seoul Shadows

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Landing itself at the tail end of the year, the KASA Culture Show presents a grand finale to the year. KASA stands for the Korean American Student Association, a cultural/social organization that seeks to bring together a Korean American community and celebrate Korean culture. The night was full of wonderful performances of music and dance, but the true highlight was the screening of a popular K-drama remake. This year, KASA showcased their remake of the film Door Lock (도어락).

Before I get into the film, I’d like to highlight how amazing the music performances were. Sinaboro started off the night with a bang (of a janggu) performing a traditional Samul Nori (사물놀이) ensemble. Samul Nori is a genre of traditional Korean percussion music that utilizes four instruments: the kkwaenggwari (꽹과리), a small gong, the jing (징), a larger gong, the janggu (장구), an hourglass-shaped drum, and the Buk (북), a barrel bass drum. The precise rhythms and clangorous quality of Sinaboro’s performance brought a part of Korean culture that was unique and very interesting to learn about/experience. Additionally, Seoul Juice gave a stellar performance, although I am not completely familiar with their set list, each song filled the theater with pleasing harmonies that the band is well associated with. Personally, I’ve seen Seoul Juice perform multiple times and they always deliver, by which I mean every single member gave their all.

Seoul Juice Mid-Performance

Now the film was no doubt the highlight of the night, as it captivated the whole audience in its masterly-made production. Door Lock is a horror movie about a woman’s victimization by the hands of a stalker. Carrying heavy themes about sexual assault, stalking, and kidnapping, the film is one that leaves the audience in horrifying suspense about the identity of Kyungmin’s stalker but also woeful concern about her safety. By all means, the most fun part of it was the audience’s reactions as everyone screamed in terror, gasped in shock, and aired their frustration that she would just let that guy in her apartment. The way the film was shown to the audience was also unique and fascinating as it was cut into parts, progressively being shown between performances. It left us in the audience with cliffhangers, red herrings, and terrible suspense.

However, I do note that there was one problem I found to be pervasive: the overrepresentation of Kpop in Korean culture. While I absolutely adored the flawless formations and power of Female Gayo, the baddie energy and captivating visuals of Humi, the stylishness and effortlessness of DB3, the uniqueness and ingenuity of UMTKD, the focus and freshness of K-Motion, it felt like the heavy presence Kpop has overshadowed other important aspects of Korean culture. I would like to emphasize that Korean culture is not just the Kpop that it is often represented with, and a culture show should be a space to celebrate diverse representations of culture, not just a popular facet of it.

Despite this criticism, I found the KASA Culture Show to be a great time. The energy from the audience gave me life, and every time the dancers were only shown through silhouette I audibly gasped by how cool it looked. In summation, I love performances and the multimedia showcase of the KASA Culture Show was exemplary in all counts quality-wise.