Tag: Singing

REVIEW: Disney’s Snow White

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In this 2025 live adaptation of Disney’s 1937 film Snow White, Rachel Zegler plays the part of Princess Snow White, a young woman who is mistreated by her evil stepmother, known as the Evil Queen. The Evil Queen is jealous of Snow White for her beauty and kind heart, and thus sends her outside the castle to be killed. However, Snow White escapes and goes on an adventure in which she meets seven dwarves and a group of thieves led by a young man named Jonathan, and eventually confronts the Queen herself.

One aspect that I admired about this film was Rachel Zegler’s musical performance. The emotion she puts into performing is captivating, as one can clearly tell she puts her heart and soul into singing to really bring Snow White’s character to life. Gal Gadot also does a good job portraying the evil queen. Her subtle facial expressions and movements really convince the audience of the queen’s evil nature.

Although this film had many endearing parts such as the cute forest animals that Snow White befriends and the characteristic catchy Disney songs, there were some aspects of the film that I thought were lacking. The overall pacing of the movie felt very inconsistent. Some scenes were drawn out and felt almost boring, while others felt choppy and rushed. There were some key moments that felt a lack of buildup in emotional intensity, leading to abrupt scene changes. However, this could be due to the director wanting to market the movie towards more younger audiences, and so they may have decided to cut out any scenes that would be too intense. I enjoyed how there were a couple instances in which the Seven Dwarves made jokes more catered to adults but were innocent enough that it could be included in a children’s movie.

I also noticed that the costumes on both Snow White and the Evil Queen were noticeably tacky and looked out of place from the film. They looked similar to the Halloween Costumes found in retail stores for children to wear. However, I realize that this is not that important to the overall plot of the film, and is just something that I noticed.

The film kept to the original in some parts but strayed from the original in others. For example, the seven dwarves and their iconic personalities were kept in, as well as the Evil Queen’s magic mirror and poison apple. However, they added the young thief Jonathan and his group of bandits as a replacement for Prince Charming. I thought that made a lot of sense to do because in the original, Prince Charming does not have much of a role in the film.

Although Snow White (2025) was not a tear-jerking, awe-inspiring film, it also was not terrible. The two main actresses did a phenomenal job and the movie still kept its feeling of having Disney magic. However, the film lacked a more deep and thoughtful plot and had an inconsistent flow to it, and so would likely be more enjoyed by young children and their families for a light-hearted movie night.



REVIEW: Sense & Sensibility: A New Musical

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From early to mid-March, under the direction of Matt Bogart, The Encore Musical Theatre put on a beautiful production of Paul Gordon’s Sense & Sensibility: A New Musical. The set design was grand and elaborate, making full use of the theater’s space. The costumes featured intricate details that reflected the period’s distinctive clothing, and the acting and soulful singing contributed to an immersive atmosphere. 

Based on the romance novel by Jane Austen, the plot takes place around 1792-1797 and follows two sisters, Elinor andMarianne Dashwood, played by Chelsea Packard and Jessica Grové. After the sudden death of their father, the women of the Dashwood family are forced to leave their home due to inheritance laws and relocate to a more modest property in the country. The sisters grew anxious about their marriage prospects, as women at the time heavily relied on marriage to secure their future. As they struggle to balance romantic desires with practical concerns, the story unfolds with messy relationships and complex emotions.

Because a musical and a novel are different genres, the musical’s pacing was faster, more direct, and exaggerated. While it lacks Austen’s iconic narrative prose, the show boasts an impressive amount of musical numbers with nineteen songs in the first act and twenty-one in the second that all showcase the characters’ personalities and emotional depth more vividly than the novel. As a result, characters with smaller roles in the book were able to have a bigger part in the musical. 

The first musical number that stood out to me was “Lydia,” sung by Colonel Brandon, largely due to the powerful voice of director and actor Matt Bogart, who is also a professor at SMTD. Bogart’s tone and vibrato enhanced the romantic desperation his character conveyed. My favorite songs from Act I, however, were the last three numbers: “Lavender Drops (Reprise),” “Hello,” and “Somewhere in Silence.” “Lavender Drops” and “Somewhere in Silence” were duets between Elinor and Marianne; their voices complimented each other beautifully, reinforcing their sisterly bond for the audience. In contrast, “Hello” is sung by Elinor and her love interest Edward Ferrars (played by Adam Woolsey), which offered insight into their relationship through its thoughtful lyrics. In Act II, I especially loved the humorous lyrics of “Wrong Side of Five and Thirty” sung by Colonel Brandon, which gave his otherwise serious character a more personable and vulnerable side.

Overall, although the tickets were a bit pricey and the commute to the theater was longer than preferred, the high production quality made it well worth it. I enjoyed being able to see a professor perform because I had only seen students perform previously. I’ve always been awed by the students at SMTD, and Bogart’s talent and skill demonstrated how great professors can foster great students. While this wasn’t my favorite musical narratively or musically, it was still a lot of fun to watch.



REVIEW: Titanic: The Musical

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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

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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: Mary Poppins

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I had fond feelings but not much memory of Mary Poppins (1964), so when the Michigan Theatre showed this iconic, classic film, I was excited to re-explore the magical wonders and musical adventures the movie took me on in elementary school. At first, I feared the story would be too childish to enjoy, but I had a rather pleasant experience even as an adult.

The story takes place in early 20th-century London and around Jane and Michael Banks, the troublesome and ill-mannered children of George and Winifred Banks. Though wealthy and of respectable status, George and Winifred are emotionally distant parents. After Jane and Michael keep chasing away the nannies Winifred hires, George decides to take matters into his own hands and find the strictest nanny possible. Against his expectations, Mary Poppins arrives and immediately captures the innocent hearts of Jane and Michael with her rosy cheeks, magic items, and mysterious background. With Bert, a cheerful and kind street musician who works multiple odd jobs, Mary Poppins brings the children on unimaginable journeys while instilling discipline and moral principles through fun songs. Though written for children, the musical quality and melody of the songs in Mary Poppins, such as “A Spoonful of Sugar,” “Feed the Birds,” and the legendary “Supercalifragilisticexpialidocious,” captivate audiences of all ages.

I was most surprised by Mary Poppins’ stoic, strict, and prideful personality because I imagined a nanny to possess a more soft-spoken and gentle quality. However, actress Julie Andrews’ portrayal of confidence and quiet kindness brought to life the perfect nanny for Jane and Michael, who did not have a consistent adult figure in their lives. In contrast to Mary’s authoritative demeanor, Dick Van Dyke’s character, Bert, is goofy and nurturing in his own way. His Cockney accent and regular fourth-wall-breaking antics bring a lighthearted energy and make each scene more immersive.

I can see why this movie made such a deep impression on me as a kid. For younger audiences, Mary Poppins is a film that fosters imagination in the mundane scenes of daily life, inspires hope for a more exciting future career, and helps children identify the simpler joys in even doing chores. On the other hand, for adult viewers, this movie serves as an example of good parenthood and an exploration of family dynamics, specifically highlighting how misunderstandings and emotional neglect can influence children. This thematic element encourages adult viewers to evaluate the method and significance of nurturing emotional bonds within their own families.

Although the storytelling starts strong while setting the scene and introducing the main characters, the plot grows frustratingly slow without much character development or world-building, which is when I had to remind myself that children are the target audience. Even though this movie does not demand a re-watch, Mary Poppins deserves its name as a beloved classic and enjoyed best as a leisurely, nostalgic experience.

REVIEW: Wicked

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After several disappointing movie-musical adaptations in recent years, I was skeptical that Wicked would be any different. As the first musical I had ever seen, and on Broadway in New York no less, I had especially high expectations. However, I was pleasantly surprised to discover that the hype surrounding the movie was justified. Under the guidance of director Jon M. Chu, with a talented main cast including Ariana Grande (Glinda), Cynthia Erivo (Elphaba), and Jonathan Bailey (Fiyero), Wicked offered a refreshing take with a charm that still retained the essence of the Broadway play that sparked my love for musical theatre.

Based on Gregory Maguire’s novel Wicked, the story is a prequel to The Wizard of Oz. The main character, Elphaba, grows up experiencing hardships due to her unusual green skin. Ostracized by even her own family, she is nonetheless loved by her nanny. Because of this, she grows up with a pure heart. When she sends her younger sister to Shiz University, Elphaba catches the eye of Madame Morrible, played by Michelle Yeoh. Morrible is a famous magical history professor and the object of admiration for Glinda, a beautiful and popular girl who has lived a life essentially the opposite of Elphaba’s. As the story progresses, it explores the complex relationship between the two women. Their character development is one of the highlights of the story, touching on themes of friendship, values, purpose, and societal expectations. Grande and Erivo’s chemistry, both on and off screen, brought this relationship to life brilliantly. 

Despite both the musical and the movie running for roughly three hours, the movie only covers half of the original story. I did feel that the pacing dragged at times, with the plot progressing slowly—almost frustratingly so. However, this slower pace gave more creative freedom to the director and actors. Compared to the stage production, Elphaba and Glinda felt more alive in this version. Their characters were more developed and complex, which created a deeper connection with the audience. I particularly enjoyed Glinda’s nuanced portrayal, whereas in the play, she seemed more ditzy and one-dimensional.

Though I find live singing and dancing more impactful, the movie was still incredibly immersive. The film’s close-up shots of the characters, their costumes, and facial expressions added a level of intimacy that the stage production can’t match. The lighting and camera angles also contributed to a richer atmosphere. The movie was visually striking and the vivid colors truly brought the fantasy world of Oz to life. These added details allowed for more foreshadowing, extensive world-building, and deeper character development. It never felt like a simple recording of the play. 

A friend of mine, who is more versed in musical theatre techniques, also offered some insightful commentary on how film is a unique medium. On stage, only those sitting in the front row get to see the actors’ faces clearly, and even then, it’s impossible to catch all the small details. It’s difficult to compare movies and theatre because they offer different experiences and strengths. Perhaps that’s why I remain skeptical about many movie-musical adaptations retaining a high quality—they’re often unfairly compared to the original. Nevertheless, Wicked is proof that a great musical-movie adaptation is possible.