Tag: play

REVIEW: The Government Inspector

Maeve Ricks 2 Comments

Notice of Content: This article references moments of death by suicide and instances of fatphobia in a theatrical performance. Read with care.

 

Every piece of art should resonate with the urgency of a question: “Why now?” Yet, after watching the University of Michigan Musical Theatre Department’s studio production of The Government Inspector, I’m left scratching my head, struggling to understand the artistic vision.

This comedy of errors originally written in mid-19th-century Russia by Nikolai Gogol follows the story of a small town frightened by the news of an inspector, spying and evaluating the organization of their community. As mistaken identities and drunken behaviors abound, the townsfolk turn to bribery, flirtations, and trusty ol’ vodka to impress their supposed inspector. In Jeffrey Hatcher’s adaptation, what’s supposed to be a poignant satirization of greed, political corruption, and stupidity falls flat in comparison to the glaring offenses performed onstage. 

Malcolm Tulip, the director, greatly oversteps when inviting the audience into the world of remote, provincial Russia. Tulip forces audience members to participate in some of the most gruesome moments of the show: this includes an actor gagging onto an audience member’s lap from alcohol consumption, and having a patron hold a mirror for a performer to look into as they perform a staged death by suicide. Irresponsible is the only word that comes to mind. Audience members can’t consent in the dark, and to thrust unsuspecting patrons into distressing scenes without their prior agreement isn’t what they paid for; it’s highly unethical and dangerous.

The offense that takes the cake, however, is the interpretation of the Judge. Not only does the actor don a fat suit, but they use it to its full extent, making a mockery of fat people in a caricature-like fashion. The actor waddles onstage with hands cradling their belly, as if parodying pregnancy. As a plus-size person, I couldn’t help but roll my eyes and think, “We’re fat, not pregnant.” Then, they top it off by taking a fall and flailing around like a pig in mud. This portrayal not only insults the audience with its blatant fatphobia, but also exacerbates its harm with tones of ableism. Such portrayals are far removed from entertainment, serving only to reinforce harmful stereotypes and degrade those of us who are simply living in our bodies.

What do we have to learn from old or outdated stories? Maybe, this is the wrong question. Instead, let’s ask who should we trust to direct these new interpretations? I would be remiss to place any blame for these offenses or missteps on any students involved. It’s not their fault. Faculty who hold a clear power dynamic over student artists are responsible to lead and uphold an ethical, safe, and responsible production. It’s obvious, in the case of The Government Inspector, that there was a failure to provide such leadership. The themes of corruption and folly in The Government Inspector might have contemporary resonance, but the execution here is tone-deaf.

However, to give credit where credit is due, Nicola Troschinetz and Stephanie Reuning-Scherer were hilarious and bubbly in their twin roles as Dobchinsky and Bobchinsky, Ellie Van Engen successfully cements the proposed idea of satire through her costume design, and the ensemble, while lacking relevance and stage time, sure can sing a tune. While the production manages to deliver moments that are both shocking and undeniably funny, these are often overshadowed by its more problematic elements.

You’ll definitely find yourself laughing during The Government Inspector, but at what cost? $16 for students? $25 regular price? Or at the expense of others?

REVIEW: John Proctor Is the Villain

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Photos are provided by Peter Smith Photography

On the night of November 21st, my friend and I walked out of the Lydia Mendelssohn Theatre in a passionate discussion about the SMTD performance of John Proctor Is the Villain, a comedy-drama written by Kimberly Belflower. Going in, I was intrigued by the play’s premise and curious about how it would intertwine the themes of The Crucible—a play written by U-M grad Arthur Miller—with contemporary issues.

John Proctor Is the Villain takes place at Helen County High, the only high school in a small town in Georgia. Set in 2018, when the #MeToo movement on social media gained attention, the story follows a group of high school juniors during their spring semester (coincidentally, I was also a junior in high school then). Most scenes occur in the classroom of Carter Smith, a young, charismatic, and popular teacher. Although Mr. Smith’s class is small, his students embody the archetypes of nerdy, sporty, chic, and emo characters you would expect to find in a larger high school. As Mr. Smith and his students read The Crucible, they begin to discuss John Proctor, who, despite being an adulterer, enjoys a good reputation and is praised as a hero. At the same time, a group of girls formed a club to explore what feminism exactly means and how to be a feminist. 

Though it starts lightheartedly, this production dives headfirst into heavy themes, including racist and sexist language, depictions of violence, and abusive relationships. At its core, the play is a commentary on sexual assault, highlighting how it remains a pervasive issue that is too often dismissed or ignored. As the plot thickens, the shifting dynamics reveal the profound disparities and emotional toll that sexual assault takes on both victims and those connected to them. The play explores a range of complex emotions—confusion, disbelief, embarrassment, anger, sadness, and more—all of which feel raw and deeply human. As I watched from the audience, the character development prompted me to reflect on my past relationships, experiences, and vulnerabilities.

The actors’ accurate portrayals of these complexities made the performance even more impactful and thought-provoking. Their depiction of messy teenage friendships—fraught with reluctance and miscommunication—felt incredibly realistic. Through desperate and hesitant tones in their voices and insecure body language, they authentically captured the essence of adolescence. Student actor Hugh Finnigan embodied Mr. Smith’s charismatic persona so convincingly that, from the beginning, I gravitated toward his character. His confidence and mannerisms fondly reminded me of my favorite high school teachers.

The production’s minimal set design—consisting solely of school desks and a blackboard—underscored the idea that no environment, no matter how safe or familiar it seems, is immune to the threat of sexual assault and harassment. The costumes and makeup reflected each character’s stereotypical personality, but by the end of the play, teach us not to judge a book by its cover. Finally, the dance-break transitions between scenes became a powerful visual metaphor for resilience, symbolizing the characters’ capacity to reclaim power and persevere.

John Proctor Is the Villain delivered a surreal and eye-opening experience, culminating in an ending that felt chilling, uplifting, shocking, and awe-inspiring all at once. Moments that initially seemed surface-level gained significant weight as the characters displayed profound growth and emotional depth. By analyzing their behavior, reactions, and capacity for trust, the play sheds light on how people navigate societal pressures and personal challenges.

As my friend and I left the theatre, we found ourselves discussing how societal norms shape the assumptions we make about people in our everyday lives and how dangerous these assumptions can be in perpetuating harmful power structures. This production left an indelible impression, and I would highly recommend it to anyone seeking a thoughtful and emotionally resonant theatrical experience.



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: Arbor Falls

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Kicking off the 2024 season for the SMTD Theater & Drama department is Caridad Svich’s Arbor Falls. It is a more recent piece, premiering in 2022 at Illinois State University. Directed by Tiffany Trent, this reflective and quiet play invites the audience to reflect on themes of community, fear, and change. According to newplayexhange.org, this is the fourth time the play has been fully produced onstage.

Arbor Falls is one part of Svich’s seven-play cycle entitled American Psalm. The plot revolves around the members of the dwindling members of a church within a small unnamed town. The preacher of the church allows a passing traveler to stay in their church, and the town unforgivingly reacts with gossip and rejection. The traveler exposes the spiritual and moral values that lie within their society’s foundation, as a juxtaposition to their seemingly neutral spirituality. The town members pressure the preacher to send the traveler away, as the traveler does not immediately fit into the community. Each character is unnamed and un-gendered, named “Preacher”, “Traveler” or “Churchgoer”, so the presentation of characters in this show is quite flexible. The freedom of dialogue and character presentation within the script was apparent, and I can appreciate how each production of Arbor Falls would have its own nuances based on the performers and community.

Set of Arbor Falls, Lydia Mendelssohn Theater

The set of the play didn’t entirely establish the environment of the town of Arbor Falls. I understood the simplicity of the townspeople’s viewpoints, their closeness to each other, and the dedication and importance of faith in their community, but I didn’t know exactly where we were (physically, or in time) from the assorted colors and textures. One enchanting aspect of the set was the courteous lighting shining through the top window. It functioned, to me, as the ounce of faith and hope left in the town. Which, is dwindling dimmer and dimmer, until a grand event near the end swoops the piece away.

The dramaturg team describes the play as “..an exploration of love, life, and the mess of all things human.” In my own reflection, this is an accurate description of the overall play, with the humble and morally conflicted Preacher, as well as the judgemental and pious Churchgoers. But moments after the curtain call, I found myself parsing through my memory of what actually had happened the last two hours. Svich’s poeticisms often fell short in terms of plot—their stillness and reflection were often lost to the audience. The story depicts itself at a lull through Act I, until an abrupt scene near the end, where the Traveler turns into a ghost(?) or eagle (?) flying away, absorbing the top of the window fixture. This abrupt moment made me question everything that happened before. This moment felt abstract for the groundedness that was created in the hour and a half before. The scene is still simmering in my mind—possibly the only moment that stuck.

Although, Svich’s blatant messaging regarding how communities treat outsiders was clear. She often explores stories of wanderers and the disenfranchised in her plays, connecting to her roots as a child of an immigrant. This relevant messaging shined through the rather monotonous performance.

The Department of Theater & Drama will present Anton Chekov’s The Cherry Orchard in the Arthur Miller Theater later this spring. Shows will run April 4-14. Tickets are available here.

 

 

Photo thanks to University of Michigan SMTD.

REVIEW: Imogen Says Nothing

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Imogen Says Nothing by Aditi Kapil is a spinoff story of the character Imogen in Shakespeare’s Much Ado About Nothing. She’s a character some have interpreted as a typo because she says nothing. However, Kapil turns this character, who serves no purpose in the original, into the main character of a “revisionist comedy in verse and prose” that SMTD describes on their website as a “feminist hijacking of Shakespeare that investigates the voices that have long been absent from the theatrical canon and the consequences of cutting them.” It highlights how women have historically been only seen as an image and deprived of their words. The play not only puts a big emphasis on the power of speech but the power of writing too. 

The premise is a bit confusing: Imogen is a bear disguised as a woman and has been living as a woman for a few years. She travels outside of her small village to the bigger cities and along the way gets dragged onto the stage in the middle of a performance of Much Ado About Nothing. In Elizabethan England, all female characters were played by men because only men were allowed to act. As a result, Imogen has to pretend to be a man playing a woman, and that woman is Imogen herself. In other words, she’s a bear disguised as a woman who pretends to be a man acting out a woman.

It has heavy themes of violence and animal abuse and there are explicit drinking and sex scenes. Furthermore, Imogen is constantly degraded for being female and fat; she even says that her only talent is “whoring”. When she is praised, it’s for her ability to make others laugh but it’s usually because she’s mocked for her background and intelligence. 

Nevertheless, it’s still a comedy and masks the darker content with humor and fun character dynamics. My favorite character was Nicholas Tooley; in the beginning, others always teased him because he was so innocent and pure, but in the end, he was so sassy and dramatic. It was also really funny when there were modern versions of objects on set. For example, for the alcohol they used White Claw, and when checking their contact information they would pull out their cell phones. 

Overall, I highly recommend watching it. It’s a play that’s hard to grasp but fascinating, especially the ending which was the best part. It took a sudden abstract twist that circled back to the underlying message with a single chilling line directed at the audience: “Exit man.” 

REVIEW: Accidental Death of an Anarchist

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November 16-18 was the showing of Mirit Skeen’s Accidental Death of an Anarchist. Each directing major is tasked with directing a full-length show during their senior year, and this play was chosen and directed by Mirit Skeen in fulfillment of the requirement. ADOAA is a political farce written by Dario Fo and translated into English by Ed Emory. First performed in 1970 in Italy, it’s a timely tale of the 1969 Piazza Fontana bombing and the death of Giuseppe Pinelli while being interrogated by the police. 

As an admirer of Mirit Skeen’s directing work, this was no disappointment. This piece is not for the faint of heart, and a huge work to tackle in just a few weeks. There are moments when I come across performances at SMTD that remind me of the incredibly high level of art we are surrounded by. This was one of those moments. Hailing from one of the best music and theater schools in the country, it is a gift to see peers and colleagues at work creating inventive works of art. 

The cast consisted of 6 actors including Nathan Goldberg (BFA 24′), Lenin Izquierdo (BFA 24′), Jalen Steudle (BFA 24′), Jack Weaver (BFA 24′), Hannah Gansert (BFA 25′), Casey Wilcox (BFA 24′). With a seasoned troupe of actors, each character was thoughtfully produced and executed. Some moments indulged absolute clownery—and those were the audience favorites. The energy brought by the actors was reciprocated by the 11 pm audience. 

Historically, it was unknown if Pinelli’s death was a suicide or a framed murder. The police claimed the death was a result of suicide or an unconscious fall. The judge ruled it as an “accidental death”. However, evidence later supported the event to be a cover-up aimed to avoid investigation and obscure complacency with the guilty neofascist groups. These groups were working to impede the spread of communism, labor, rights, and political decent. Four of the characters in the play are police officers aiming to close and cover up the case (all with unique personalities and intentions). The character of the Maniac (Weaver) infiltrates the inner workings of the corrupt system, using an archetypal clown-like persona to critique the flawed investigation. This included the Maniac breaking the fourth wall, revealing the innate relevance of the piece to the audience.

There was a note from the dramaturgy team (Naomi Parr and Ty Amsterdam) that particularly spoke to me moments after seeing the show: “Perhaps there’s a comfort to be found in 2023 that we are not alone in grappling with staggering polarization, rampant disinformation, and the complexities of responding to terror. Even while democracy dies in darkness and the truth is more important now than ever, perhaps we can turn back to the court jesters to speak truth to power. Or if nothing else, at least we can revel in a Maniac in public office whose term limits start at lights up and end at curtain call.” I appreciated this brilliant inscription from the team, and it encapsulates precisely the message transmitted through Mirit’s direction. 

Next from the SMTD Department of Theater is Imogen Says Nothing, a hilarious feminist hijacking of Shakespeare. This Aditi Kapil play will be performed at the Power Center from November 30th-December 3rd.

 

 

Image thanks to Mirit Skeen on Instagram.