REVIEW: MUSKET’s Hairspray

Musket presents Hairspray
Musket presents Hairspray

Sunday afternoon, I had the privilege of seeing Hairspray put on by the wonderful cast and crew of MUSKET, an entirely student-run organization on campus devoted to musical theatre performance. It was spectacular! From the moment the brilliantly yellow curtain lifted above the stage, those drum beats playing that familiar rhythm, Tracy Turnblad tromped onto stage in all her sassy glory crying, “Good morning, Baltimore!” It was fantastic.

Everyone was so marvelously well cast. Tracy, played by rising-star sophomore Hillary Ginsberg, was magnificent. She played the role with enough sympathy and sang the notes with so much purity, the audience was greatly moved. Other highlights included Kaci Friss, playing the role of Penny Lou Pingleton, Tracy’s beloved and quirky best friend. Her awkward demeanor yet startling vocals were perfect for the role. Link Larkin, played by Mackenzie Or, sophomore BFA Musical Theatre student, winked and flashed the audience with his shnazzy style. He had many a girl slumped in her seat, swooning over his gorgeous pipes. And of course, Motor Mouth Maybelle was positively stellar, played by junior BFA Acting Performance major Melissa Golliday. Her performance of “I know where I’ve been” brought many audience members to tears.

It was interesting to discuss this performance with a friend of mine who’d seen in Friday evening. She said that she loved the production, of course, and the talent was incredible; however, she was struck by the plot. As she saw it, it was just another example of the white girl saving the day because she saw the black kids of the neighborhood “cool.” I thought she had a fair point and I admit to not having thought of it that way before she pointed it out. After the show, I felt as if the musical itself deals with the intense subject of African American segregation in America in the 1960s fairly well and leaving us with an overall positive message. Upon further reflection, I can see her point, but it is unclear to me how much they can do to absolve the issue within such an upbeat context.

All and all, major kudos to the production team of MUSKET. Heads up for their upcoming production of Little Shop of Horrors next semester! Can’t wait!!

Visit them at their website: click here!

REVIEW: Aspen Santa Fe Ballet

ASPEN SANTA FE BALLET

Last weekend, the Aspen Santa Fe performed at the Power Center. It was a rainy Sunday and I spent the morning eating brunch at a hole-in-the-wall cake shop on the Old West Side called Jefferson Market and then watching the matinée performance. The indulgent outing felt  both classic and obsolete: When was the last time I, a.) attended a ballet or b.) went to a matinée that was preceded by brunch on the town? My only justification was that going to the performance was required for my ballet class. But I am very glad that it was because the dance itself was truly a spectacle.

The show was visually stunning, incredibly professional, tightly rehearsed, and impressively physical. The presentation was a breath taking combination of artistry and athleticism that I have rarely seen. The costumes revealed a great deal of skin and muscle on both males and females that really made me wonder how many crunches they all do per day. Half the drama of the show was simply the chiseled appearance of their abs and buns. I’m serious.

The piece was comprised of three acts; Square None (2012), Stamping Ground (1983), and Over Glow (2011). Each act differed from the next in its score, its choreography, its costumes design, and its lighting scheme, but it was clear that they were intended to be a part of a unified, coherent performance.

The first piece used grey lighting and darker musical tones while the second used no music and bright lighting. The first two appeared to make commentary on modern culture: the first was structured around bionic, wind-up-doll-like gestures. The second was very animalistic and primitive, using the body as a drum to make rhythms rather than electronic sound. (The second piece was by far my favorite; it was the most animated, relatable, and story-like whereas the other were more theoretical and abstruse). The last piece was the prettiest, with pastel colors and graceful lifts, leaps, and pirouettes. It was lovely to watch, but was my least favorite act because it felt sort of flat in comparison to the creativity in the previous two.

One thing I have not mentioned yet is the fact that this kind of ballet is not like Swan Lake or The Nutcracker. It’s not classical ballet, its neo-classical; its contemporary. It uses the same structure and techniques as ballet (straight legs, delicate fingers, turned out feet) but also incorporates movement that more resembles modern dance. Contemporary ballet allows for a greater breadth of movement and does not adhere as strictly to the lines set forth by the original forms of classic ballet. In many ways, especially after seeing Aspen Santa Fe’s performance, I find myself drawn to this genre. It is still both pretty and recognizable, but also fluid, creative, and unusual.

Sunday brunch and a matinée at the Power Center is one of the easiest assignments I’ve ever been given. Oh, and one last fun fact about the costume design from Square None was that it was designed by Project Runway celebrity contestant Austin Scarlett. Who knew.

REVIEW: The 25th Annual Putnam County Spelling Bee

I really had no idea what to expect from this musical.  Before last Saturday, I’d never seen it performed or heard any of the songs.  Perhaps that’s the best way to go to a musical–with a completely open mind.  Let the cast members do what they will with the story.

One of the first things I noticed, before the show even started, was how amazing the set was.  Kudos to whoever designed it and set it up.  The spelling bee was set to take place in a school’s gymnasium, complete with wooden floorboards, crappy metal bleachers, and even a basketball stuck between the hoop and the backboard.  It was perfect.

The musical itself was a delicate balance between hilarious and touching.  Much of it was lighthearted and funny–the definitions and sentences given for each word were my favorite part.  The introductions of each contestant were great, too:  someone was “writing an opera in Braille,”  while another was “kicked off Project Runway for creating that outfit.”  Audience participation was a huge part of the first half, but just because someone was brave enough to go on stage in front of hundreds of people didn’t mean they would get treated gently.  Aside from the Project Runway line, someone was referred to as “Babycrombie and Fitch,” and the last holdout in the spelling competition was given the most difficult words possible, until he failed and left no one on stage but the cast members.  I was really, really glad I hadn’t volunteered!  I just laughed comfortably from my vantage point in the auditorium seating.

I thought there were a couple standout performances (Maddy Trumble, Jordan Harris, Tyler Jones), but the real magic came from how the cast worked with each other.  In a musical that could have easily coasted on the hilarity and quirkiness of the writing, everyone on stage dug a little deeper and found a way to make each character’s story poignant and gripping.  By the time the contestants are whittled down to Olive and William, the audience has felt the loss of each kid that dropped out, and doesn’t quite know who to root for to win it all.  Even so, when one kid does win, all of a sudden it feels like that’s exactly how it should work out and everyone goes home happy.  All in all, I felt like the show did exactly what a show should do:  it was entertaining, and at the same time, it left the audience with some deeper issues to think about on the way home.  If you ever get a chance to see it performed, I highly recommend it!

PREVIEW: The 25th Annual Putnam County Spelling Bee

In the mood for a musical this weekend?  You’re in luck!  MUSKET is presenting The 25th Annual Putnam County Spelling Bee on March 25-27:  Friday at 8pm, Saturday at 8 pm, and Sunday at 2 pm.  All shows will be at the Power Center.  It’s the first time ever that this musical has been produced on campus–we’ve got some really ambitious performers in our midst!  It’s a Tony Award-winning, comical musical about 6 awkward adolescents competing in–you guessed it–a spelling bee, and the stakes are ridiculously high.  The original recording was also nominated for a Grammy.

Tickets are $7 for students, $13 for adults, available at the Michigan League Ticket Office.  It’s not sold out yet, but anything put on by the music school is pretty much guaranteed to be popular–grab a seat, and enjoy!

Preview: Sankai Juku

Dance means different things to different people. To some, it is ballet or  classical dance forms full of graceful movements.  To some, it is an expression of their reaction to music- hip-hop, jazz dance, tap dance,etc.  To others like me who are not so graceful or particularly born to dance, it is a fun way to  exercise. And to some, like Sankai Juku’s founder Ushio Amagatsu, it is butoh.

Ushio Amagatsu
Ushio Amagatsu

According to Amagatsu, the dance form of butoh represents “a dialogue with gravity”.  Be it ballet, hip-hop, Irish dance or any other dance, gravity defying movements are a huge focus of modern-day dance. But butoh is about “sympathisizing with gravity” (to quote Amagatsu) and thus it comprises of entirely different set of movements.

What I feel Sankai Jukus butoh symbolises- the call of gravity
What I feel Sankai Juku's butoh symbolises- embracing the call of gravity

Sankai Juku will be performing the work “Hibiki: resonance from Far Away”, at the Power Center this weekend. Be prepared for stunning imagery and some inventive and impressive choreography.

Show times:

Saturday, October 23 | 8 pm
Sunday, October 24 | 2 pm

Power Center

Tickets @ the Michigan League Ticket Office; more info on the UMS webpage

PREVIEW: Paul Taylor Dance Company

Paul Taylor is a name that is revered in American contemporary dance. He has done over 130 dances and is known for his lively, creative and powerful choreography.  This week, the Paul Taylor Dance Company is in Ann Arbor.  This will be a visual treat as the dancers are known for their athletic and powerful performances on a variety of subjects.  There are 3 shows and each one of the shows offer something very unique.

Paul Taylor Dance Company
Paul Taylor Dance Company

The program for friday has Taylor’s version of the well-acclaimed “Orbs”  and another recent dance called “Also playing”.  This latter dance is set to Donizetti ballet music and has an element of humor to it.

The legendary Paul Taylor
The legendary Paul Taylor

For saturday, we have the sizzling “Piazzolla Caldera” and a couple of other lovely pieces from Taylor’s vast repertoire.

Click this link for a glimpse of Taylor’s awesome work- Scudorama

Show times:

Thursday, October 7 | 8 pm
Friday, October 8 | 8 pm
Saturday, October 9 | 8 pm

@ Power Center

Tickets @ $ 10 at Michigan League  or the Box Office before the show

See you there!

for art[seen],

Krithika