REVIEW: A Little Night Music

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

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.

REVIEW: Michigan’s Got Talent

Wolverine’s Prove “Michigan’s Got Talent”

On Tuesday February 20, I used my Passport to the Arts to attend Michigan’s Got Talent, a talent show for the University of Michigan student body. The event was hosted by MUSIC Matters, a student organization that organizes music events on campus. Performed for the Lydia Mendelson Theatre’s packed audience and a panel of three judges, the night was act after act of inspiring creative force.

The event was MCed by two members of student improv troupe ComCo and judged by former president of MUSIC Matters Anna Lair, as well as the University of Michigan’s Vice President for Student Life Martino Harmon, and Mark Clague, an SMTD musicology professor whose scholarly interests center on the role of music in community building.

Student Band “Mahogany”

The range and variety of talent in the Michigan student body was on full display, from the upbeat k-pop covers by Korean American band Seoul Juice to the rhythmic flair of the Michigan Ballroom Dance Team. Individual talents and student organizations alike shined their light on stage. The audience was moved by vocal performances by Jeheil Butt, who also performed with DJs Acapella, and singer-singwriter Jacqueline Dianis whose buttery smooth rendition of Tennessee Whiskey was powerful and sincere. Student jam band Toast gave a zippy and energetic performance, and nine man band Mahogany connected to the audience with upbeat grooves.

Apparently on a whim, the ComCo MCs asked if anyone in the audience had a talent they’d like to share, and a brave audience member climbed onto the stage to perform an impromptu tap dance. After that, several other audience members volunteered their talents at the piano during set changes. There was a magic in the air of rooting for someone to make the change from audience member to performer at a second’s notice.

Outrage Dance’s Final Pose

Outrage Dance gave an energetic and technically impressive performance that knocked the audience’s socks off, winning the Crowd Favorite Award. Trenton Michael (featured image) and his saxophone performed an upbeat, spunky, and honest original song that had the audience clapping along, winning him Most Original Performance.

My favorite act was probably Tola Kilian and Miguel Retto, who represented the Michigan Ballroom Dance Team with a performance of Pink Panther. The suave and sassy dance was truly a pleasure to watch, and reminded me of my days studying abroad and dancing the Tango in Argentina.

Tola Kilian and Miguel Retto of The Michigan Ballroom Dance Team

I left Michigan’s Got Talent moved by the talent of my peers, and glowing from the chance to catch and reflect the shine of my classmate’s creative expression. The opportunity to see students in the audience sit up from their velvet seats and show that they too had something to share, imparted a whispered awareness of the energetic creativity that hums in the people around you. Michigan’s Got Talent was a celebration of music, and of life. I think performers and audience members alike walked out of the theater feeling inspired, and a little more talented.

Music Matters hosts other events to promote the arts and music on campus. You can check out their instagram to learn about upcoming events like Spring Fest in April.

REVIEW: For Colored Girls Who’ve Considered Suicide/When the Rainbow’s Enuf

Basement Arts presents their first show of the season: For Colored Girls Who’ve Considered Suicide / When The Rainbow’s Enuf  by Ntozake Shange. The 1976 piece is presented as a choreopoem, a unique collection of spoken poems that intertwines staging and fluid movement. Director Sarah Oguntomilade works alongside choreographer Gilayah McIntosh to navigate Ntozake’s lyrical prose to create a piece illuminating the complexities of Black womanhood, friendship, and identity with unwavering grace and power.

In the show, each character is depicted as a color of the rainbow with the addition of brown. They perform some poems alone, but in other moments come together to deliver a unified story, creating a mural of emotions. Characters were acutely aware of one another, offering solidarity when some were delivering heavy-hearted monologues and experiencing saturated joy together for others. The performers breathe life into the individuality of their roles, showcasing a kaleidoscope of personalities that are both vivid and distinct, yet reminiscent of Ntozake’s personal experiences and emotions. Oguntomilade clearly holds a deep understanding of theater and poetry, as her direction was fluid and honest, capturing the essence of each moment poetically and dramatically. Accompanied by McIntosh’s seamlessly exciting choreography, the piece was aesthetically magnificent.

The authenticity of the choreopoem form shines through Ntozake’s meticulously crafted words, breathing life into the performance while speaking radiant visions of her experiences to the audience. The ensemble expertly navigated exhilarating highs and heartbreaking lows with unwavering conviction, leaving the audience both beaming with love and holding back a rush of tears. The poems fearlessly take on topics such as abuse, sex, and emotional trauma—it is a show to be emotionally prepared for while inviting audiences to confront the complexities of the African-American experience with unflinching honesty and empathy. The show humbly forms a mosaic of poetic brilliance that lingers long after exiting the theater.

For Colored Girls Who’ve Considered Suicide / When The Rainbow’s Enuf  is a deeply touching piece about the resilience, bravery, friendship, strength, and beauty of African-American women, and went out last week with roaring success. Basement Arts will perform two more shows during the Winter season: Collective Rage: A Play in 5 Betties directed by Brynn Aaronson and Falsettos directed by Naomi Parr. Auditions and performance dates are posted on @basement_arts on Instagram. 

 

More about Ntozake Shange and her legacy here.

Feb 2, 11pm. Image thanks to Basement Arts. Performed in the Newman Studio on North Campus. 

REVIEW: PIVOT

At SMTD, every senior is encouraged to craft a thesis project, serving as a culmination of their artistic endeavors throughout their university studies. Rileigh Goldsmith (BFA Dance 24’) chose to create a unique experience to observe dance. Goldsmith presented an immersive sensory journey through the layers of creative consciousness through the lens of virtual reality. This was certainly one of the most unique presentations of dance I have ever seen.

The setup was at the Duderstadt Center, in a room nestled in the hallway leading to Pierpont Commons. It was set up like a black box with an unassuming maze. Each “room” contained a VR headset that the viewer would put on to briefly exist in the little world of Goldsmith’s creation.

The experience commenced in three parts. The first: “Question”, offered a thought about how often we notice our often concealed inner tranquility. It presented beautiful 360-degree landscapes with a gentle voice reciting a poem by Goldsmith herself. Act II was entitled “Untether”. Her program note mentioned: “PIVOT is a movement narrative which explores human resilience amidst comforting constraints, choice paralysis and fear of the unknown.”  This act featured Goldsmith’s reposeful frolics in a bright and grassy field while performing choreography of her own. It was ethereal and cherubic, exemplifying freedom and bliss. Act III was called “Pivot”. This act featured a collection of dancers fading between a 1930s-themed number and a stark contemporary piece.  She left the note: “In some realities, you were meant tethered, apathetic, and stagnant. In others, you are unbound, confident, and empowered.” 

A corresponding hanging door matched each act, labeled I, II, and III. Subtle decor lined the outskirts of each room, calling back to motifs of each act—tea candles, dainty white ribbons, and blue lamps.  The design was visually impressive and satisfying. It submerged the viewer into the creative realm of Goldsmith’s consciousness.

 

Goldsmith challenges the viewer to find freedom within their creative mind. She epitomizes power, maturity, and poignance in her choreography and design. The exhibit is open Tues – Fri, 12 to 6 pm, and Sundays, 12 to 6 pm. (from Jan. 10 through Jan. 21.) 

 

Order of Acts:

I. QUESTION

II. UNTETHER

III. PIVOT

REVIEW: She Loves Me

This past weekend, I watched the musical She Loves Me (1963), a romantic comedy with a classic enemies-to-lovers trope set in 1934 Budapest, Hungary. The male lead is Georg Nowack, the hardworking manager of Maraczek’s Parfumerie. He’s always at odds with the female lead, Amalia Balash, an employee who’s not the best at her job and believes Georg always has it out for her. There’s a unique array of workers at the parfumerie. There’s the playboy Steven Kodály, the innocent delivery boy Arpad Lazslo, the sexy lady Ilona Ritter, and the cheerful father Ladislav Sipos.

It’s a frustratingly slow-burn romance; most of the first act is unraveling the main character’s mysterious love interests, their “dear friends,” and getting to know the other employees. In the second half, though, the romantic development quickly speeds up and She Loves Me plays, my favorite musical number. I enjoyed watching the usually serious Georg dancing around the stage and singing his heart out, giddy with love.

The show was completely run by the Golden Theatre Company (GTC), a student organization that strives to spread the joy of musical theatre and create opportunities for all students to be part of the production and performance process. When reading the program notes, I was fascinated that quite a few members were freshman or not musical theatre students; one was even a Mathematics and Computer Science major! Furthermore, everything was done well. The stage props for the parfumerie were adorable and intricate, the outfits were gorgeous and elegant, fitting for the era, and the microphones and music were clear.

As suggested by their name, the GTC only performs musicals from the Golden Age of musical theatre (roughly mid-1940s to late 1950s) or musicals sung in the classical style. I look forward to their next semester’s performance because I’m sure they’ll choose a wonderful musical to perform with the highest quality.