Tag: Dance

REVIEW: Titanic: The Musical

Sappy Leave a comment

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: Triptych

Maeve Ricks Leave a comment

Upon entering the realm of Peeping Tom’s Triptych, one quickly learns to abandon all preconceived notions of a linear narrative. This Belgian dance theatre company crafts an experience that is just weird, yet so irresistibly fantastic that it leaves you ensnared in its labyrinthine grip. Composed of three haunting acts united by the intricate theme of “memory as labyrinth,” the production ventures into territories both unsettling and sublime, drawing you into a journey that defies traditional storytelling.

Where Triptych excels is in its audacity to explore the intangible nature of memory—not a straightforward journey, but a dance through corridors flooded with both familiar and fantastical whispers of the past. Each act draws you deeper into the maze, where paths are both discovered and created anew with each performance.

Triptych is a masterclass in marrying choreography with set design, where each act unveils a new visual marvel. From the immaculate hotel room, where doors seem to have minds of their own, to a restaurant submerged in a foot-deep pool of water, each setting serves as a dynamic backdrop to the dancers’ wildly impressive physical feats. It’s a wonder no one emerged injured from such daring aquatic performances.

In between acts, be prepared for a unique intermission experience. The entire company, with remarkable synchronization, deconstructs and reconstructs the set, transforming it into the next fantastical landscape. Witnessing this metamorphosis is a testament to the powerful collaboration between performer and designer, a reminder that storytelling transcends words. My advice? Take your bathroom break before the show if you don’t want to miss this spectacle.

What’s particularly astonishing about Triptych is its ability to weave compelling narratives without a single line of dialogue. The movements speak volumes, their language universal. The choreography, a mesmerizing fusion of styles and techniques, crafts stories so vivid and gut-wrenching that audiences are left to decipher them through their own lenses. You might walk away with a narrative entirely different from the creator’s intention, yet equally profound and personal.

Even if dance isn’t your forte, Triptych is a masterpiece that stands out for its technical magic on stage and behind the scenes. With its ability to harness unorthodox elements and turn them into visual and emotional storytelling, the production redefines what it means to experience theatre.Peeping Tom’s Triptych defies convention and challenges its audience to lose themselves in its dance of memories. A compelling kaleidoscope of movement, design, and the murky depths of the mind, this is one performance that will linger long after the final bow has been taken.

REVIEW: Look-Alike Dance Performance At Dearborn

vprayag Leave a comment
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

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.

REVIEW: Twelfth Night

Sappy Leave a comment

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

vprayag Leave a comment

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.