REVIEW: Dancing Globally

Before Dancing Globally, I hadn’t been to a modern dance performance in years. It had been so long that I honestly couldn’t really even remember what to expect. When the lights dimmed, I looked over at my friend in the darkness and grinned, with the excited feeling of being on the first side of a mystery.

As soon as the curtains opened, both of us could tell we were in for something exciting. The first performance, probably my favorite of the four, featured a semicircle of dancers wearing suits. Each dancer had a chair that they used as kind of a prop, and throughout most of the performance, hardly anyone moved very far away from their chair. This is part of what made the choreography so creative: not only were they interacting with the chairs in unique ways, they also managed to make it feel as though they were interacting with each other—and with us, the audience.

My favorite part, though, was the suit aspect. Throughout the performance, they removed aspects of the suit one by one—the jacket, the hat, even the pants—all except for one standalone dancer at the very edge.

The costumes ended up being a standout part of the entire night; the third piece, for instance, was completely different, but still striking in part because of its visual aspect. The dancers were performing against a backdrop of projected flowers, and they all wore vibrant, colorful outfits. This gave me the semi-subconscious impression that maybe the dancers themselves were meant to represent flowers, or something like flowers. This interpretation was reinforced toward the end, when three of the dancers stood under a stream of water that looked like an actual spring from the natural world, transplanted onto the stage.

The final piece was definitely more somber than the rest, with shaded, semi-uniform costumes and dim, melancholic lighting. However, it was still entrancing to watch, in part due to the constantly shifting nature of the choreography and the “scene” unfolding on the stage. It was definitely a powerful closing piece for the night.

Dancing Globally was a welcome representation of the work being done in the School of Music, Theatre & Dance, in part because of its sheer variety and in part because of the balance it was able to strike between engaging and thought-provoking. Overall, the night was definitely a success, and I look forward to attending more dance performances in the future.

REVIEW: The Comedy of Errors

Set during Mardi Gras in the 1960s, the School of Music, Theatre, & Dance presents an interestingly humorous production of William Shakespeare’s The Comedy of Errors. Like so many of Shakespeare’s comedies, The Comedy of Errors is full of mistaken identity, entertaining situations, and nearly tragic events. As a father faces death for arriving in Ephesus to search for his twin sons (both named Antipholus), both of the twins and their twin servants (both named Dromio) unwittingly wreak havoc as they are constantly mistaken for each other.

Full of the slapstick and running gags, this production’s strength was the physical and nonverbal humor. From a martini glass that keeps getting bigger to a duke constantly finding new ways to stay hidden, the best moment was the over the top chase sequence in which a sequence of characters bike by on progressively smaller bikes. At the center of the slapstick humor were the two Dromios (Ben Blackman, Elliot Cruz) who where frequently being hit with bright yellow hats and rubber fish, punched in the stomach, and kicked in the butt. Although that took up a lot of their time on stage, Blackman and Cruz played up the humor with witty lines, dancing, and rapping, which were playful and entertaining.

While this production was appropriately comical and well acted, it had some struggles with the verbal humor. Since this is thought to be Shakespeare’s first comedy, his hallmark wordplay and wit is less pronounced than in the later comedies, which is why most productions play up the physical humor. In this production, however, some of Shakespeare’s most famous lines from, interestingly enough, histories and tragedies including Macbeth, Richard III, Romeo and Juliet, and Hamlet were added in an attempt to heighten the verbal humor and wit. Although it was an interesting idea, for the most part it fell flat and made the play feel less like Shakespeare and more like an awkward tribute.

Overall, this production was unique and entertaining. The Mardi Gras setting worked well and the cast gave admirable performances. Although the additions to the play sometimes felt awkward and out of the place, when the existing humor was played up, the production was wonderfully engaging.

 

 

PREVIEW: The Comedy of Errors

 

WHO: School of Music, Theatre & Dance, Department of Theatre and Drama

WHAT: The Comedy of Errors

WHERE: Power Center for the Performing Arts

WHEN: December 5-8

COST: $10 for students,  tickets available online or at the Michigan League Box Office

When two sets of long lost and similarly named twins unwittingly arrive in the same town, mistaken identity and increasingly humorous situations ensue. This updated production of William Shakespeare’s first comedy is set in New Orleans during Mardi Gras and promises to be a wild and funny adventure.

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