Tag: Musical

REVIEW: Titanic: The Musical

Maeve Ricks Leave a comment

Titanic: The Musical is a grand undertaking, promising an epic retelling of the historic disaster. And yet, this production found itself navigating turbulent waters and ultimately struggled to stay afloat. While the intent was ambitious, the execution left something to be desired, particularly in its lack of directorial boldness and inventive staging.

As the familiar story unfolded, one hoped to feel the looming dread and gravity of the sinking ship. Instead, the staging remained disappointingly static, failing to capture the urgency and chaos that the storyline demands. Titanic’s narrative should be a rising tide of tension and emotion, and yet it floundered around in shallow waters. A more dynamic approach to the physical space and movement could have transformed the experience into something truly riveting.

Another unfortunate iceberg in the path was the book itself, drowning under the weight of too many characters. The ensemble cast, while talented, had to fight for precious narrative space, leaving audiences adrift, unable to form meaningful connections or investment in their fates. With a plethora of characters vying for attention, the emotional impact of their plight was diluted, resulting in boredom and a noticeable uptick in glowing screens among the audience.

Sound mixing woes further muddled the waters. The orchestra’s impressive performance was marred by inadequate balance, often overwhelming the vocals. This left many lines and lyrics indecipherable, which is an ironic twist considering the music direction by Tyler Driskell managed to harness the beauty of the score so magnificently. Though the ensemble’s voices were heavenly, our ability to understand their words was sunk all the way down to Davy Jones’ locker.

Despite the muddled aspects, standout performances helped keep the ship from sinking entirely. Landon Wouters as Captain Smith, Nile Andah as Harold Bride, and Jason Mulay Koch as Frederick Barrett delivered compelling portrayals. Andah’s and Koch’s telegraph scene in act one, rich with tension and harmony, was a bright spot in the production and everyone’s phones were put away to witness.

While this titanic production (literally and metaphorically) struggled against its own dramaturgical and directorial currents, there were many shining moments for student performers. This production may have sank, but the performers managed to get on a lifeboat and survive. Hopefully, we will witness their talents navigating clearer waters in the future.

REVIEW: The Hunchback of Notre Dame

Maeve Ricks Leave a comment

Oh, the thrills of live theater… expectation in the air, anticipation humming, and—oh, what’s that?—a microphone left on backstage, inadvertently picking up the riveting sound of someone’s pre-show snack break. Alas, such was my experience with MUSKET’s winter production of The Hunchback of Notre Dame at the Power Center for Performing Arts. As the house lights dimmed, I was prepared for an epic adventure through the cobblestone streets of 15th-century Paris, guided by the sweeping melodies of a beloved Stephen Schwartz score. What I received instead was a journey paved with glaring sound issues and directorial missteps.

The sound design/mixing was, let’s just say, a unique interpretation of cacophony at its finest. The voices of leading roles were swallowed by the ensemble during featured moments; it was more like they were competing in a vocal tug-of-war where only one side had their microphones turned on. When the sound design is good, you notice nothing; when it’s bad, it’s like nails on a chalkboard. Mics left on at inopportune moments, and mics off when they were supposed to be on was just the beginning of the rest of this epic-length musical.

Then we have the set—a gorgeous, rented fantasy courtesy of Disney itself. Revel in its arches, its gothic allure, the golden bells, and its underwhelming presence because it was scarcely utilized! If I saw one more chorus arc singing center stage and standing still, there’d be hellfire to pay. Not to mention, that every powerful ballad lacked movement, standing on the same bored center stage mark.

The direction, I’m afraid, felt more like a directionless meandering. Lacking dynamism, each scene seemed to wash into the next with a repetitive lull that did no favors for the audience’s attention span or for characters who already struggle to stand out against their major movie counterparts. It’s hard for me to grasp onto characters whose only defining trait is their ability to make me wish the scene transition would happen already.

Despite these misadventures in sound and space, the cast carried the show on their capable shoulders with Esmeralda, played by Abby Lyons, and Quasimodo, played by Max Peluso, shining even through the most challenging acoustic trenches.

In the end, not even the beautiful set could gloss over the production’s glaring flaws, echoing Shakespeare’s timeless observation that “All that glitters is not gold.” Alas, it’s a poignant reminder that the right team can turn straw into gold, but all the gold-rented sets in the world can’t salvage a lackluster vision and poor sound mixing.

For a student theatre organization that is so popular and well-revered, it’s a shame this production can’t stand next to some of their other hits. Here’s hoping future productions can rise above, allowing both story and song to truly soar.

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: The Government Inspector

Sappy Leave a comment

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: Gershwin Centennial Concert

Sappy Leave a comment

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: Wicked

artsyramblings Leave a comment

Good news! Wicked, the film adaptation of the first act of the smash hit Broadway musical of the same name, is wonderful.

Directed by Jon M. Chu, Wicked is a prequel to The Wizard of Oz. Based generally off of the novel by Gregory Maguire (Wicked: The Life and Times of the Wicked Witch of the West; unlike the rest of involved properties, decidedly not PG), as well as the 1939 movie, Wicked centers around Elphaba (a standout performance by Cynthia Erivo), who will become the Wicked Witch of the West, and Glinda (Ariana Grande), who will become the Good Witch of the North.

Wicked is a movie-musical, and unapologetically so. The chorus is vast and excellent. The choreography (by Christopher Scott) ranges from crisp and upbeat to gentle and heartfelt; and, when it’s happening, there’s a good balance between close-up shots and larger crowd shots. All of the songs from the Broadway musical’s first act are included, though almost all have been expanded (one, in service of a fun, fan-service cameo, so much so that it essentially constitutes a new song). The sets and costuming are minimally CGI, vast, bright, and colorful. Like many musicals, the whole effect can be a bit campy, but it’s not garish, and it doesn’t shy away from darker aspects of its plot.

The movie opens in the “present day” of the Wizard of Oz, after Dorothy has killed the Wicked Witch. Glinda arrives in her bubble to a town in Munchkinland, whose residents are rejoicing that the Witch has just been killed (“No One Mourns the Wicked”). After a short flashback detailing Elphaba’s birth, Glinda confesses that she did, in fact, know the Witch: the two went to school together, at Shiz University.

Grande is at her weakest musically in her opening number: this is the most “legit” (pseudo-operatic) piece for Glinda, and Grande lacks the technique to pull it off. Her voice sounds overly thin and weak, particularly on the higher notes. Presumably to compensate, the autotune and sound editing, generally tasteful, are palpably stronger here. Grande does make a much better showing for herself in the rest of the film, though. Most of Glinda’s singing is more pop than classical, which Grande does with aplomb; her performance in “Popular,” an upbeat number in which Glinda decides to give Elphaba a makeover, more than makes up for “No One Mourns the Wicked.” Grande also has impeccable comedic timing, aided by her sidekicks Pfanee (Bowen Yang) and Shenshen (Bronwyn James), and her chemistry with Erivo is impeccable. Erivo is the stand-out here, with a wry, rich, nuanced portrayal and a glorious singing voice. Her “Defying Gravity,” which ends the film, is a show-stopper in more ways than one.

While there are darker political machinations happening in the background, the heart of the film is Glinda and Elphaba’s relationship, and its slow shift from enemies to friendship. It feels real, and it’s refreshingly imperfect. They hurt each other, but there’s a sweet and genuine core to it, which heightens the stakes when the two must eventually break apart to Good and Wicked.