Tag: dancing

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: Dancing Globally

Laura Dzubay Leave a comment

Before Dancing Globally, I hadn’t been to a modern dance performance in years. It had been so long that I honestly couldn’t really even remember what to expect. When the lights dimmed, I looked over at my friend in the darkness and grinned, with the excited feeling of being on the first side of a mystery.

As soon as the curtains opened, both of us could tell we were in for something exciting. The first performance, probably my favorite of the four, featured a semicircle of dancers wearing suits. Each dancer had a chair that they used as kind of a prop, and throughout most of the performance, hardly anyone moved very far away from their chair. This is part of what made the choreography so creative: not only were they interacting with the chairs in unique ways, they also managed to make it feel as though they were interacting with each other—and with us, the audience.

My favorite part, though, was the suit aspect. Throughout the performance, they removed aspects of the suit one by one—the jacket, the hat, even the pants—all except for one standalone dancer at the very edge.

The costumes ended up being a standout part of the entire night; the third piece, for instance, was completely different, but still striking in part because of its visual aspect. The dancers were performing against a backdrop of projected flowers, and they all wore vibrant, colorful outfits. This gave me the semi-subconscious impression that maybe the dancers themselves were meant to represent flowers, or something like flowers. This interpretation was reinforced toward the end, when three of the dancers stood under a stream of water that looked like an actual spring from the natural world, transplanted onto the stage.

The final piece was definitely more somber than the rest, with shaded, semi-uniform costumes and dim, melancholic lighting. However, it was still entrancing to watch, in part due to the constantly shifting nature of the choreography and the “scene” unfolding on the stage. It was definitely a powerful closing piece for the night.

Dancing Globally was a welcome representation of the work being done in the School of Music, Theatre & Dance, in part because of its sheer variety and in part because of the balance it was able to strike between engaging and thought-provoking. Overall, the night was definitely a success, and I look forward to attending more dance performances in the future.

REVIEW: Dillon Francis

Gabriella
Dillon
Dillon Francis can be seen looking small amidst a large stage at the Royal Oak Music Theatre.

I had high expectations walking through the doors of the Royal Oak Music Theatre Wednesday night to see Dillon Francis kill the game with his different musical personalities. He can do it all. I was pleasantly surprised to hear literally everything Dillon can be good at. From cranking up the deep house (“now, we will gone one deeper”), consisting of heavy pulsating base, to mixing in raps, and then trapping out to extremely twerkable music, his full range of style was explored. The range of genres is well demonstrated through his current album and previous work. Whereas many electronic music producers stick to one niche, he is one of the few that constantly prove his versatility at the mixing table.

Dillon kept the energy of the house high all night with his expert production skills in his musical choices and his visuals done by his visual team. Funny, exciting, and overall trippy images were projected on his elaborate set up that featured screens in the shape of mountainous rocks with him in the middle of it. The energy was contagious, and I could not stop moving to the beat. By starting off with “Not Butter” which features a looping “I Can’t Believe It’s Not Butter,” he set the set tone on the up. He played the entirety of his “Money Sucks, Friends Rule” album which features many collaborations with producers like Martin Garrix on “Set Me Free” and Major Lazer and Stylo G on “We Can Make it Bounce.” By having the artistic freedom to mix up his awesome album, you could easily tell that he wasn’t just pressing play up on stage. He created a unique experience for the audience based on the energy of the crowd and what kind of atmosphere he wanted us to experience. My favorite part of the night was when he remixed Ginuwine’s “Pony,” a 1990s sensual classic and super fun to dance to.

The interesting part about his production were that dedicated fans could instantly recognize what part of his persona he was emulating through his musical choies. The trap beats and inclusion of hip-hop, drum n’ bass, and rap are DJ Rich As F**k’s specialty, while DJ Hanzel is devoted to deep house. What Dillon does outside of production is super smart. Through highly entertaining and scripted videos, he shows his fans that he can do a lot more than making fun music. He’s a great self-promoter, the furthest thing from shy, and it only adds to the larger than life feeling you get when you see him in person. He loves to have fun, which makes you want to follow along and have fun too.

After his signature “Get Low” featuring DJ Snake, Dillon ended with “Love in the Middle of a Fire Fight,” a perfect anthem ending to the show that put everyone in a satisfied mood. I was left with the album ringing through my head on the way home, but it was extremely worth it.

 

Preview: Slow Magic at The Blind Pig

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What: Slow Magic: DJ, musician, beat genius

Where: Blind Pig, Ann Arbor

When: Wednesday 1 October, 9pm

Who Can Come: Ages 18+

How Much: $12 in advance/ $14 at the door

 

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Little is known about the origins of the musical artist known as Slow Magic, he wears a colorful animal mask and never refers to his own name.

In an interview last year with D Magazine, Slow Magic said this about his anonymous status:

“… the reason I wanted it to be this way from the start was that so people get focused on the music before they focus on a state or a location or a story,” he says. “I wanted to challenge the way music could be presented. I’m not the first anonymous musician but it’s fun for me to try and figure out things sometimes with other bands and other musicians too.”

Slow Magic came to The Blind Pig last year and put on a very good show. His beats are creative and highly conducive to dancing the night away.

Listen to Slow Magic’s music on Soundcloud.

REVIEW: G-Fest

Gabriella

With an almost full lower level at the Power Center for the Performing Arts, student performance groups across Michigan pulled together October 18 for G-Fest, a 2-hour extravaganza of singing, dancing, comedy, slam poetry, percussion and glow-stick dancing. Each act brought something fresh and new to the 5th Annual G-Fest. Alumni G-Men from the inaugural show had the honors of opening this one. Not only were the acts solidly executed, but the ever quirky, comical G-Men introducing them kept the show’s momentum running strong throughout the entire program. Personal favorite included when two G-Men made dubstep with their mouths, including dubbing the beats to Snoop Dogg’s “Drop it Likes it Hot” and Ginuwine’s “Pony.” I think this was when the crowd cheered the loudest the whole time, although each group received a respectable amount of loud, rambunctious applause, and for good reason.

The G-Mens opening number
The G-Men's opening number

The Harmonettes killed it in black pumps and blue jeans.
The Harmonettes killed it in black pumps and blue jeans.

I found myself feeling like I was an extra cast member in Pitch Perfect when the G-Men and Harmonettes sang in harmony and pitch together. The G-Men pulled off a catchy Spanish number to open the show, followed by a mash-up of Maroon 5’s “Harder to Breathe” and Adele’s “Skyfall.” Pure ear candy. In the second part of the show, the self-proclaimed always classy, sometimes sassy Harmonettes brought their girl power with Little Mix’s “Wings,” my favorite number from their set. To quote the movie, both groups were “aca-awesome.”

Asante looks dapper in his top hat and jacket.
Asante looks dapper in his top hat and white jacket.

Asante, the only solo act on the bill, sang two original compositions at the piano. He described the process of creating his own music by visualizing different keys as different colors and putting it all together. His two pieces complemented each other perfectly well, and had the venue feeling like a small intimate jazz club. As a senior in the School of Music, Theatre and Dance, he was one of my favorite acts for his ability to silence and mesmerize the crowd with his smooth voices and even smoother piano playing. He’s got showmanship down, looking and sounding mighty classy. I loved every minute of it.

The Michigan Raas Team
The Michigan Raas Team
Photonixs eye candy
Photonix's eye candy

The first dance group, Michigan Raas Team, performed to traditional Indian music wearing traditional Indian costumes. Their fluid movements had me wanting to get up and dance too, if I knew how to dance like that. G-Fest ended with Photonix, a group that dances with glow sticks to create visual art with trippy trance music in the background. It takes a whole lot of talent to wave glow sticks up and down to create something magical, and Photonix’s did just that in this out-of-this-world finale.

Grooves jamming out on trash cans
Groove's jamming out on trash cans

Before intermission, Groove beat their trashcans and quad drums made of plastic bins to perform several numbers of carefully crafted percussion numbers. The intensity and speed at which these performers can go is remarkable, and I can only imagine how much time and practice they endure to get it just right. These guys nailed it, and the best part is all their instruments are random, common items one wouldn’t expect to find in a formal show. Groove’s ingenuity, coupled with their urban allure, made for a stylistic success to round out the first half.

ComCos improv players provided plenty to laugh about.
ComCo's improv players provided plenty to laugh about.

Not only did talent lie in the musicality of performances, but in comics and poets, too. The first half featured six ComCo. members, campus’s oldest improv comedy group, playing various games with audience participation. They pulled off one of comedy’s greatest exercises, telling a story with someone else’s hands behind them guiding the action. Another game had the game master control the flow of dialogue, interrupting a “mother/daughter” pair whenever he didn’t like what they were saying and making them redo the line in a different way. The best part about the players was the sheer improvisation–these guys can think fast on their feet and that makes it all the more enjoyable and entertaining. One of the highlights of the night for me was being able to laugh at the absurdity of the situations the players acted out.

Four members of the Slam Poetry Club read their poems on stage, giving the audience chills with their themes of growing up, being there for someone in tough times and a poem chronicling Adam and Eve’s experience in couple’s therapy. Each poet slammed really well, slowing and quickening their voices at the appropriate times and really speaking from the heart. It takes a lot of guts to speak like that in front of such a large audience, and these kids nailed it.

I couldn’t have asked for a better Friday night listening to and seeing all the great talent this campus has to offer. Each group shined, and it made me even prouder to be a Michigan Wolverine. Even though G-Fest was just a sampling of the many performance groups on campus, it accomplished its goal of entertaining attendees. Bravo, everyone, for your amazing performances.

REVIEW: Sprites and Satire at the Mendelssohn: UMGASS’s Iolanthe

Jackson Tucker-Meyer 1 Comment

In the director’s note for Robyn Tierney’s UMGASS production of Gilbert and Sullivan’s Iolanthe, she says “I could have manifested my own creative expression into the delivery of the show, but I believe Gilbert and Sullivan had enough creative expression of their own; mine would only complicate things…I would present Iolanthe in a more traditional environment, one that captures the original brilliance and wit of our two theatrical heroes.” It’s a long-running debate in the world of repertory-based music-theatre: should the director preserve “traditional” practices and try to produce the piece as it would have been on the night it premiered, or should they go in an uncommon direction to try and bring out an aspect of the work that has hitherto gone unnoticed by past interpreters? Directors who pursue either approach run the risk of losing sight of the paying public and alienating audiences. The traditionalist can present a performance that is pedantically attentive to the practices of a bygone age, and thus of interest only to historians. The nontraditionalist can craft an interpretation so radically different that the meaning of the piece is lost, and confuses both newcomers and audience members familiar with the piece. It takes a director with a strong sense of the heart of a particular theatrical work to bring any production to life, “traditional” or not.

Thankfully, Tierney understands Iolanthe very well. She brings out the edgy irony of the piece with aplomb, while not neglecting the slightly mystical unearthliness. This production of Iolanthe is the best kind of Gilbert and Sullivan production, one that has all of the charm and none of the quaintness, decidedly Victorian in atmosphere but with the slightest pinch of 21st-century irreverence.

A good supplement to Tierney’s traditionalist cause is the fact that Iolanthe is a Gilbert and Sullivan work that has aged reasonably well. The trademark Gilbertian social satire is simultaneously biting and absurd (although rather less subtle than in, say, The Mikado), with a plot concerning a painfully idiotic House of Peers having their political powers taken away by a crew of vengeful fairies. The jibes about the folly of having politicians vote based on which party they belong to, rather than what they personally believe, seem particularly pertinent in today’s political climate.

The cast, as per usual with UMGASS, gave thoroughly intelligent and charming portrayals of their characters. The two ensembles in particular brought everything that was needed. Each member of the House of Peers, plus the Lord Chancellor (Don Regan), brought a definite and different brand of buffoonery to each individual part, from Jon Roselle’s obsequious Lord Tolloller to Don Regan’s alternatingly intellectual and befuddled Lord Chancellor. The fairies were exceedingly animated and characterful as well, graceful and sardonic in equal measure. The contrast between the sassy sprites and the blustering bluebloods was terrific to watch. Amanda O’Toole brought a noble bearing and a truly glorious contralto voice to the role of the Fairy Queen. Joshua Glassman combined a gleefully goofy demeanor and a sterling tenor voice in his portrayal of Strephon. Alexandria Strother, as Phyllis, delivered her dialogue with a strikingly naturalistic bent and her lyrics with a pristine soprano tone. Tina Pandya’s choreography was exceedingly well-suited to the music and lyrics: very merry, somewhat silly and occasionally even witty, not something easy to pull off with dance. Not to be discounted are the lovely costumes by Marilyn Gouin and Tam Prentice, which clearly defined the personalities and stations of the various characters with economy and beauty. Also to be commended are the lovely sets designed by Cynthia Lempert and Laura Strowe, evoking the Arcadian environs of the fairies in the first act and creating a picturesque nighttime view of the London skyline in the second.

One minor quibble I had concerned the delivery of some of the lines. Gilbert’s deliberately arch and verbose style, while effective in its time at lampooning the artificial stage conceits that Gilbert so despised, needs a little something extra to come off properly today. The words, while extremely eloquent and clever, ought to be “sold” a little in order to come off properly; this is especially true in the long and intricate passages of dialogue delineating the paradoxes and puzzles of logic that were Gilbert’s forte. It’s a delicate balance, for if the lines or lyrics are too heavily exaggerated, then the wit is lost; however, if they are said too plainly, the import of the words is easy to miss. There should be just the slightest splash of Technicolor in the delivery, just a little something extra to make the words truly register. For the most part, the cast did very well at keeping this balance. Two cast members in particular achieved this clarity through very different methods: Glassman delivered his lines with a delightful silliness that somehow felt perfectly natural, stopping just short of too much; Regan spoke his lines with pinpoint diction and a terrific sense of timing, pausing ever so slightly in his monologues to give the jokes just enough time to set in before moving on. Still, there were a few occasions where some lines that ought to have won gleeful guffaws ended up getting a bit lost, receiving only a smattering of chuckles. But this was only the first night—now that the cast has played to a full audience, hopefully they will be able to easily find their oratorical bearings.

If you are looking to introduce yourself to the operettas of Gilbert and Sullivan, Iolanthe might be one of the best ones to see first. It has all the hallmarks of the Gilbert and Sullivan style in full effect: intricate absurdity wedded with music of beautiful sprightliness (ably conducted by music director Matthew Balmer and performed by the orchestra, which has too many members to name here). If that sounds at all appealing to you, Iolanthe will more than likely be well worth your time.

Iolanthe is running December 7-8 at 8:00 P.M. and December 8-9 at 2:00 P.M. at the Lydia Mendelssohn Theatre. Tickets are available at www.umgass.org