Tag: Music

REVIEW: The Government Inspector

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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: Seong-Jin Cho, Piano

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Photos are provided by Peter Smith Photography

On February 7th at Hill Auditorium, pianist Seong-Jin Cho delivered a phenomenal performance of the complete solo piano works of Maurice Ravel. The concert lasted three hours, yet Cho memorized and played every piece with unwavering precision and passion. Funnily enough, before the concert began, an audience member behind me exclaimed that even a one-hour program of Ravel would be too long; I’d bet money they changed their mind by the end of the night.

Cho’s global reputation skyrocketed after winning First Prize at the 2015 Chopin International Competition in Warsaw. Since then, he has performed with the Berlin Philharmoniker, where Cho is currently the artist in residence, as well as the London Symphony Orchestra, Boston Symphony Orchestra, and more. 

At Hill, Cho’s ability to breathe life into the piano showed why he’s so sought after. He merged with the instrument in body and soul. Even when the music consisted of a single repeating note, it was beautiful and each tone rang with a pure, bell-like clarity. No matter how fast the glissando flew by, you could still hear each note sing. The lyrical lines blended seamlessly, yet I could distinguish which hand played which dynamics, melodies, and harmonies—even with my eyes closed. Cho never once seemed to lose focus or stamina.

The first piece, Sérénade grotesque, had a delicate, elusive character that made its theme hard to pinpoint. Menuet antique felt more tangible. Pavane pour une infante défunte evoked a giddy feeling of raindrops and fairy footsteps from melodic flurries and vast glissandos. Cho then moved into the peaceful Jeux d’eau and ended the first section of the night with the Sonatine, whose three movements featured harp-like textures.

 

 

After intermission, Cho resumed with Miroirs, whose five movements flowed so smoothly it felt like a single movement. In Gaspard de la nuit, I was struck by the soft yet clean notes—something I’ve always found difficult to bring out on the piano. 

Following the second break, Menuet sur le nom d’Haydn became one of the night’s highlights. It immediately captured my heart with chords that built into a dreamy atmosphere. Valses nobles et sentimentales brought me back to reality with dancing energy, especially in the Presque lent – dans un sentiment intime movement, which glittered. The followingPrélude carried a bittersweet emotion, while À la manière de Borodine surprised me with a melody that made me imagine horses frolicking. Similarly, À la manière de Chabrier resembled cheerful skipping. 

The final piece, Le Tombeau de Couperin, offered the most variety. Its six movements formed an emotional arc—sprightly, meek, brash, romantic—culminating in the last movement Toccata. Vif. That movement was especiallydemanding, ebbing and flowing between repeated notes, lush lines, and anxious descents that Cho played with awe-inspiring control. 

I’m glad this performance introduced me to the beauty of Ravel’s piano works. Cho’s ability to freely shape dynamics made him the perfect soloist to perform Ravel’s dreamy musicality. It had been a long time since I attended a solo piano recital, so this performance showed me how a soloist can express more subtle and endearing musical expressions even without the grandeur of an orchestra.

 

REVIEW: Gershwin Centennial Concert

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Though composer George Gershwin and his younger brother, lyricist and Pulitzer Prize winner Ira Gershwin, are undoubtedly celebrated as two great contributors to American music, their works were surprisingly never standardized. As a result, numerous scores and recordings of their music circulate with inconsistencies in tempos and dynamics, and some have been lost to time. To preserve the essence of his granduncles’ works, University of Michigan alumnus Todd Gershwin created the Gershwin Initiative with the School of Music, Theatre & Dance (SMTD). As part of this initiative, SMTD annually hosts a centennial performance of the two brothers’ works. This year, Sunday, January 26th, a crowd of students and locals alike flocked to the Michigan Theater to catch the performance of the music written by the brothers in 1925.

Accompanied by pianist Jacob Kerzner, SMTD students Nicholas Alexander Wilkinson II, Oliver Boomer, Aquila Sol, and Elle Michaels sang George Gershwin’s compositions from Tip-Toes (“These Charming People,” “Sweet and Low-Down,” and “That Certain Feeling”), Tell Me More (“Mr. And Mrs. Sipkin,” “Three Times a Day”), Song of the Flame (“Midnight Bells,” “Vodka”), La, La, Lucille (“It’s Great to Be in Love”), as well as songs that Ira Gershwin wrote the lyrics for in Molly Darling (When All Your Castles Come Tumbling Down”), Lady in the Dark (“My Ship”) and A Star is Born (“It’s a New World,” “The Man That Got Away”). The students sang without costumes, props, or choreographies. However, their voices alone captured the sassy and hopeless romantic attitudes of their characters. 

What I found most interesting is that many of these songs were suggestively scandalous yet painted with a lighthearted tone of voice and upbeat melodies. The song that particularly stood out to me was “Vodka.” The funny and punny lyrics were easy to understand while remaining hilariously descriptive of what vodka does to the human psyche and body and the negative consequences that often follow its consumption. 

After the intermission, the University Philharmonic Orchestra (UPO) took the stage under conductor Jayce Ogren to play Overture to Song of the Flame. Shockingly, it was likely the first public performance of the overture in decades, and there are no known recordings of the overture. The overture is relatively short and played for around ten minutes. Still, the characteristic dreamy quality of Gershwin’s talent at blending jazz and classical music makes it feel even shorter. 

However, what left the deepest impression on me that night was Tzu-Yin Huang’s performance of Gershwin’s Piano Concerto in F. Accompanied by the UPO, the first movement starts with a suspenseful yet jazzy rhythm from the blaring band instruments. Then, the pianist has dramatic, slow notes before suddenly accelerating in pitch and tempo before returning to a bittersweet, syncopated blues melody. The contrast between a lullful minor key to a more powerful, almost angry melody with a cascade of descending thirds evoked a bittersweet emotion before transitioning into a quick tempo; the orchestra then takes turns with the soloist in sharing the spotlight. The second movement starts similarly with a jazzy, brass solo, that the piano interrupts after a slow, somber intro. The mood immediately shifts with playful staccato notes and grace notes. In contrast to the first and second movements, the third movement begins agitated with notes that requires the fingers to have incredible control in speed and power. I loved the end of the third movement, which further expands an overall theme heard throughout all three movements before having a classic tremolo ending. 

Overall, it was an incredible experience. I’ll be striving to attend the Gershwin Centennial concert in the future, and highly recommend others attend too!

REVIEW: Mary Poppins

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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: Mufasa: The Lion King

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Despite the many negative reviews surrounding the musical drama film Mufasa: The Lion King, I actually really enjoyed it. The storyline acts as both a prequel and a sequel to the original animated The Lion King. While it’s not life-changing or particularly essential, it’s a fun film that adds to the world-building of the original in an endearing way. Perhaps it’s because I had low expectations and didn’t know exactly what to expect, but I found the online reviews overly harsh for a movie primarily directed toward children.

The plot begins with the lion cub Kiara, Simba’s daughter, who is frightened by a large thunderstorm. She doubts her capabilities and expresses that she could never be brave like her grandfather, Mufasa. In response, Rafiki, an elderly and wise mandrill, tells her a story to encourage her. He recounts how Mufasa was at her age and how he grew up to become the great king we saw in The Lion King. Mufasa, who we originally see as proud, confident, and courageous, is depicted as more vulnerable and dispirited in his youth. He struggles to believe in himself or accept praise, which seems hard to believe given his personality in his adult form. Through the animals Mufasa encounters on his journey, the film explores themes of family, belonging, and love. His journey proves his worthiness as king and highlights the qualities that make him a true leader. The plot is a coming-of-age story, fitting for its intended audience. This aspect resonated with me, and I believe many children would connect with it too.

The narration is engaging, with the story progressing at a good pace. However, while Mufasa’s character development is well-paced, the development of other characters either lacks depth or, particularly toward the end, feels rushed. As the movie reaches its climax, the character arcs become hurried, especially in the conclusion, which makes their actions seem almost out of character. One factor that held the character development back was the CGI animation. While the visuals were strikingly realistic and beautiful, the realism made it harder for characters to express themselves facially or display more creative body language. It also became difficult to differentiate the lions, as they generally shared the same appearance aside from slight changes and their voices. While these details may stick out more to adults, younger children may not notice them as much, meaning a cartoon version might have appealed to a wider audience.

This placed a greater emphasis on the voice acting and music, which I think the film did well. The instrumental soundtrack was a great homage to the original, with many elements inspired by or directly recreated from it. I also appreciated that there was often music playing in the background. In addition to the bright sunshine and natural scenery, this contributed to the triumphant and joyful emotions in the film. However, one disappointing aspect was the singing, which I felt could have been of higher quality, as it could have been another opportunity to express the character’s personality. 

I think the film’s weaknesses largely stem from the characters not feeling as relatable. However, most of the movie’s strengths lie in its overarching messages and foreshadowing of events that occur in the original. I think it would be a great film for young children to understand self-growth, confidence, and friendship. Though it may be an unpopular opinion, I don’t think it is a waste of time or detracts from the original The Lion King in any way, unlike other prequels and sequels I’ve seen. I would still recommend it to people of all ages, but it’s important to approach it with an open mind. 

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.