Tag: Musical

REVIEW: Funny Girl

IseeUsee Leave a comment

I remember walking past the sign “Funny Girl Auditions ↘” in the Michigan league and wondering what “Funny girl” was. This was in September. I find it hard to wrap my head around the fact that Ummusket was able to audition for people in September and showcase something as good as Funny Girl in November.

The actors were phenomenal. From the very beginning, watching the protagonist Fanny walk down the theatre aisle, I could guess this will be a show to remember. The actors had skillful control over their voice and there were hardly any-if any at all-moments when the signing or the dialogue delivery was not good. The actors had good chemistry: not just the main lead and her love interest but the mother, the brother, the aunt, and many more.

The dances were well done. There were scenes where Fanny took a trust fall while singing, actors sang while jumping, pretending to fall etc. and their singing was still impeccable. The costumes mimicked the period of the play very well. The props, the lighting-all these were planned strategically and their use was top notch.

The orchestra, like always, was just wonderful and really helped the musical.

One thing about the musical was that the story does jump around a little. The beginning is about Fanny not being pretty/skinny enough to be a broadway star but she gets the main roles quite easily and then the story turns into a romantic drama and we don’t really touch on the subject we started off with. The jokes, dances, and songs of the play keep the story interesting.

All and all, hats off to everyone who worked in the production of Funny Girl. All throughout the play, the audience members were loving it and cheered everyone on. In the end, people gave the cast a standing ovation so you know this was a crowd favorite!

Do. Not. Miss any productions from Ummusket.

REVIEW: Funny Girl

avameester Leave a comment

Musket’s production of Funny Girl, originally a Broadway musical with Barbara Streisand, has an electric energy that can’t be forgotten. Running for just three nights at the Power Center on Central Campus, it can easily be missed; but, for all musical-lovers and Michigan students within walking distance of the theatre, keep your eye out for future productions at this location and other productions by Musket. The effortless humor and colorful characters of Funny Girl filled the venue with a liveliness that stuck with me even after I left.

I am typically not a musical-goer, as I prefer the believable effects and immersive atmosphere of typical movie theaters, but something about Funny Girl set it apart and drew me directly into the bustling and competitive setting of New York City. Surrounding the life of the awkward, stubborn, yet uniquely charismatic actress Fanny Brice, the musical explores her strenuous rise to fame. We witness her navigate the cutthroat competition of theatre in the Big Apple; we see her embrace her triumphs and mourn her defeats; and, most notably, we watch as she learns how to navigate the complexities of love and family in her gold-gilded life as a star. My favorite aspect of the story— besides experiencing the exciting growth of such an interesting character— is the focus on theater. Watching a musical about musicals adds a sense of realism; the actors are performing a story, but it is a story that is relevant to their own experiences. Many songs are performed in a fictional musical, so watching those scenes in an actual musical theater setting feels completely immersive.

The stellar cast raises the performance to another level. Carly Meyer, who plays Franny, captures the awkward humor and headstrong demeanor of the character perfectly. From classic clumsiness to goofy dance moves, the loud and unapologetic ambition of Franny echoes throughout the venue, as well as her strong and expressive voice. Each cast member brings incredible vocal talent to the stage as well as a specific energy and personality; ranging from the mysterious and wealthy Nicky Arnstein, played by Sohil Apte, to the brashly humorous Mrs. Meeker, played by Gavin Brock, the variety adds to the excitement of the show.  The score is iconic and unforgettable, featuring fast-paced classics and romantic ballads. The live pit orchestra added dimensionality and depth to the lively music. Through the live music and incredible vocal talents, the sound of Funny Girl is magical at the very least.

The relatable and in-touch nature of the subjects of Funny Girl— the awkwardness, the difficulty of love, and the blinding allure of success— creates a production that is far from fantasy. Funny Girl enticed me with its characters, drew me in with its realism, and captured my heart with its nostalgic score. Next time Funny Girl comes around, or any other Musket production, be sure to grab your $7 student ticket and catch it while you can.

REVIEW: Dear Evan Hansen

Madison Krumins Leave a comment

Dear Evan Hansen, 

When I saw you were becoming a movie, I admit, I was skeptical. You’re the freshest in a growing list of musicals turned movies, a recent trend that I’m not sure how I feel about yet. A theatre kid at heart, I knew the music and storyline from Dear Evan Hansen before I walked into the screening. Wondering how the transition from stage to screen would play out, I came in skeptical but interested. 

My main hesitation with movie musicals is that the mashing of these forms can often feel confusing, if done improperly. When attending a musical, the audience is expecting the music as part of the storytelling. In a movie, the ability to shoot in an authentic setting can create enhanced realism, which can’t always be done on stage. When someone starts singing out of the blue in a movie, it feels especially out of place when the rest of the film feels so real. I felt particularly jarred by it in Dear Evan Hansen, which utilized silence in its non-musical parts so well, I started to wonder what this movie would look like without the musical element everyone was expecting, and if it could stand alone that way.

Another one of these skepticisms came from the age of Ben Platt, the originator of the role of the titular Evan Hansen. We are no stranger to seeing actors well out of the age range play high schoolers (ex. Grease, Stranger Things, etc.), and Platt has spoken up against critics who said he’s too old for the role. While I agree that it’s irritating to continue to see high schoolers played by much-older actors, I have to admit Platt’s performance is exceptionally extraordinary. Platt’s ability, especially repeated times a week on stage, to portray a severely anxious high schooler and snot-cry while singing, is incredible. It comes from a place of deeply understanding and embodying the character of Evan Hansen, and it times it’s hard to watch because of its rawness. 

Speaking of snot-crying… While the storyline is emotional and heavy, I couldn’t help but feel the movie was perhaps a bit too self-indulgent at times. There may have been a smidge too much screen time for tears and pensive expressions–and the removal of some of the more upbeat songs from the original musical only added to the darker tone of the film version. 

While some original songs were missing, a few new ones were added. I appreciated what they did here–it seemed, in this way, that they were moving towards making the movie its own meaningful thing, rather than a copy of the musical version. The movie slightly departs by featuring certain characters more, increasing the diversity factor of the film and touching on different ways mental health shows up in different people’s lives. (Hint: Alana gets a more fleshed-out character development, and we hear more from Connor!)

Overall: Did I cry? Yes. I’m not afraid to say that the topic of mental health and suicide hits quite close to home for me, and I’m thankful for the way DEH doesn’t shy away from the tough stuff. Did I laugh? Yes, in the brief snippets of comedic relief. In the end, I would recommend it as separate from its musical original. For those of us who need to hear it, DEH reminds us: You are not alone. You will be found. If you’re feeling up for a powerful, emotional story, go check it out when it releases on September 24th! 

PREVIEW: Mary Poppins

Emma Pinchak Leave a comment

Whether you’re five or 95, Mary Poppins is an absolute delight.

The Burns Park Players present a special, family-oriented production of the Disney classic this week, intent on bringing all of Ann Arbor the joy and wonder of the nanny we all wanted for ourselves.

Since its 2013 departure from Broadway, productions of the play can be hard to find. Luckily the talented actors of this local troupe are doing us this service. Plus, the proceeds from ticket sales goes toward funding the arts in schools around town!

Showtimes are:

February 27, 7:30 PM

February 28, 7:30 PM

February 29, 2:00 PM

March 1, 2:00 PM

All at the Power Center, 121 Fletcher St.

Ticket prices range from $15-25, with special student pricing of $5 off when you apply discount code SPRINGBREAK at checkout.

Get your tickets here or at the door.

REVIEW: The Book of Mormon

Mary O'Byrne Leave a comment

The Book of Mormon was a wonderful production, put on by Broadway in Detroit at the Fisher Theatre. It is undeniable that the stage was almost glowing throughout the entire show. The bright lights and set decor were a defining part of the experience, giving it the livelihood that such a musical, with compelling identities and enthusiastic characters, deserves. The vibrant colors of the costumes further complemented these strong production aspects, while also playing well into building the separate identities of the characters. The animated performances of the cast were obviously doing the heavy-lifting. Between the identifiable characters, the strong choreography, or the catchy, witty tunes, the cast managed to bring life to the entire show.
For people who are unfamiliar with the show, here it is: two 19-year-old mormon missionaries, Elder Price and Elder Young, are sent out to Uganda for their first two year mission, and it’s not what they expected. Price had hoped to be sent to Orlando Florida, and follower Young just wanted to be Price’s sidekick – but instead he ends up converting many Ugandans on his own terms. Through their adventures with religion, culture, and interaction, the show expresses satire, and sometimes even deeper emotion.
My favorite parts of the show would have to be the songs “Baptize Me” and “Joseph Smith, American Moses” and the choreography. In the former, Elder Young goes through the process of baptizing Nabulungi, which is full of sexual implications. I think I loved this one because Young is such a charismatic character – he brings many laughs to the show, while also forcing the audience to empathize with him because of his low self-esteem. In the latter, the villagers put on a show for the Mormon missionaries, which is entertaining thanks to the juxtaposition between the Ugandans and the Americans reaction. The choreography is a major part of the show, paying tribute to all different genres and parts of musical history. Such complexity and variety from song to song is refreshing, fun, and completely classic. I guess it’d be foolish to expect anything but hyper-theatricality, even if it is a show focused on Mormons in Uganda.
The only issue I had with the show was, well, the show. I knew that it was somewhat controversial, but generally hailed as a brilliant production. However, as I sat through the first act, it took me some time to warm up to the jokes and feel comfortable with them. This is not because I don’t like or am not used to comedy – I love it. And beyond that, find it to be an extremely effective means, specifically when battling confusing identities, ones that are often stereotyped or oppressed. Comedy is awesome. But for some reason, the portrayal of the Ugandans, an imperative part of the show, was not cutting it for me. And despite having thought and read about the story, I still cannot put my finger on what exactly turned me off. It could be due to the current climate our world is in – one where outlandish, seemingly ridiculous ideas that appeared and functioned as jokes are finding their footing in societies that are supposed to be increasingly “progressive” and “forward-moving.” It could be a variety of reasons, objective or subjective. I’m toying with ideas here, still trying to understand why I didn’t love my matinee musical experience quite as much as I hoped that I would. Instead I’ve been left as a slightly confused google-searcher and review-hunter.
However, I saw that by the second act, as a whole, the Ugandans were more humanized and credible. They knew that everything Young was spewing to them, about kissing frogs to cure AIDS and yatta yatta, was metaphors. And by the end of the show, we’re on a positive note again, just as hopeful as Elder Price was at the beginning when he hoped to be sent to Orlando, acknowledging the importance of religion and beliefs to many people, no matter their differences. All in all, I’d say The Book of Mormon is a put-together production worth seeing, and one worth taking a more critical look at, too.

REVIEW: 25th Annual Putnam County Spelling Bee

Emma Pinchak Leave a comment

For some kids, their school’s annual spelling bee is the event of the year. They spend hours practicing, working through the standard lists, reading swaths of the dictionary just in case. They pester their parents to quiz them, stand in front of the mirror, poised with shoulders back and chest out, reciting the letters clearly and precisely. All the while, the rest of their friends make fun of their earnestness, asking (as any sane person would) what’s the point?

Whether or not I was a three-year participant in my middle school’s bees, striking out on “rhythmic” in sixth grade right before I would have made regionals, is not important. And whether I Googled “rhythmic” to make sure I was spelling it right, seven years after, is similarly irrelevant.

It takes a certain kind of kid to really get jazzed about spelling bees. They need to be more than a little weird, maybe gawky and awkward, known to be a nerd. She could be the type to have an enormous collection of rocks, or wear exclusively brightly-patterned knee socks.

This musical understands the spelling bee phenomenon very clearly. The participants in the 25th Annual Putnam Country Spelling Bee are all afflicted by some circumstance that they carry in their personality. Olive’s parents are neglectful; she speaks in a small voice, cautiously wondering at her place in the world, though as the play goes on, we see her emerge as an incredibly soulful singer. Leaf has a learning disability and what seems to be multiple personality disorder, of which his family never fails to remind him. He gains confidence as he sticks around in the bee for longer than anyone thought was possible. William’s parental situation is less than ideal, and he moves through life sulkily as a result, but he learns compassion for others. Marcy, by fault of her parents, instructors, and herself, is a severe perfectionist, though an intervention from Jesus H. Christ himself allows her to see failing is okay. Logainne is under similar pressure as one father pushes her hard to succeed, while the other is softly loving, yet she remains positive and learns about fairness. And Charlito has…hormonal issues. As every middle school boy must, he grows to love his erections.

Individually, everyone in the cast performed wonderfully. Though part of the character is a product of the playwright, the actor has a lot of freedom to either enhance or detract from the audience’s experience. These actors provided the high-energy vivaciousness only children can apply to life. William was probably my favorite, acting-wise; he is expressive in both facial expressions and body movement. In terms of singing, Rona Lisa and Olive took the cake, especially in the song where they sing as mother and daughter, voices soaring high and strong.

This dramatization of a spelling bee is exactly how bee participants feel. The pressure is incredibly oppressive, the nerves run thin, it feels like the most important performance of their life. Maybe there’ll be a point when a spotlight comes down and you have to sing a jazzy rendition of your life story. Anything feels possible, especially if (when) you win.

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