Tag: SMTD

PREVIEW: Don Giovanni

Ella Larsen Leave a comment

What: Mozart’s legendary opera, considered one of the greatest of all time, produced by the SMTD’s Department of Voice and featuring the University Symphony Orchestra

When: 

  • March 24, 2023 8:00PM
  • March 25, 2023 8:00PM
  • March 26, 2023 2:00PM

Where: Lydia Mendelssohn Theater

Don Giovanni tells the story of “an incorrigible young playboy who blazes a path to his own destruction in a single day” (Opera Atelier). It is based on the story of Don Juan, a fictional Spanish libertine and seducer. The opera is regarded as one of the greatest of all time for its ambiguity between comedy and tragedy, and, of course, its music. This production of Don Giovanni is directed by Mo Zhou, who arrived as an assistant professor of music at the University last fall, and whose directing debut with the Boston Baroque was recently awarded a 2023 Opera Grant for Women Stage Directors and Conductors. The last opera I saw here was Cendrillon in 2021, and that performance gave me goosebumps, so I can’t wait to see how the Department of Voice interprets this famous story.

REVIEW: Bonnets: How Ladies of Good Breeding are Induced to Murder

Ella Larsen Leave a comment

8:00pm • Friday, February 17, 2023 • Lydia Mendelssohn Theater

I had a fun evening attending Bonnets last Friday, although I was more impressed by the acting and production than the writing itself. My cast shout-outs go to God, played by Sophia Lane, Prudence, played by Kaylin Gines, and Valerie, played by Olivia Sinnott: partially because they were just my favorite characters, but also because the three actors filled their roles with particular verve. One thing I appreciated about the script was that each actor had their time to shine. Each character developed a type that, once placed in a scene with another, created surprising and entertaining dynamics, especially once the timelines became crossed.

The set, designed by Lance Vance (depicted in the image above), lent itself to the plot, with the overlapping frames above the three settings visualizing the colliding timelines. While unchanging, it remained dynamic by virtue of the way the actors interacted with it in many dimensions. The costumes, designed by Mallory Edgell, were similarly ingenious. Each character wore a period gown rendered in pale neutral fabric, save for a panel or two which were patterned in esoteric characters reflecting the playful sci-fi elements of the plot. I liked how the uniformity of the costumes, all of which used roughly the same fabric, unified the women’s narratives while the cut distinguished each character by period and class. The costume change in the end was also clever, evoking the punk movement of the 1990s and recentering the story in the present, where women continue to be “corseted” in contemporary ways.

This brings me to an element brought up in the panel discussion after the play which I found interesting. A question was posed to the panelists about how the play breaks barriers of representation, and two of the panelists answered frankly that they didn’t believe it did. I’m inclined to agree; the feminism of the play didn’t feel particularly radical. Perhaps the embrace of violence as a means of resistance was meant to be the element of surprise in the play, but it leaned a little too deeply into comedy for me to take it seriously. Overall, I wasn’t enamored with the particular brand of camp written into the script. I felt like, considering its themes, the play could have afforded to take itself a little more seriously, and ultimately the campiness came across more as a product of a rushed storyline.

Of course, none of this is to criticize the impressive cast and production staff who brought this performance together. Regardless of whatever issues I had with the script, I enjoyed the play immensely, congratulate the student actors who will be graduating shortly, and look forward to seeing the others again in future performances.

REVIEW: Michigan Pops Orchestra Concert “Tick Tock, It’s Pops O’Clock”

Sappy Leave a comment

*Photo of the conductor, Luca Antonucci, taken by @willzhang*

The Michigan Pops Orchestra concert “Tick Tock, It’s Pops O’Clock” had an impressive turnout despite being at the same time as the game, and there were many elderly people in the audience for an organization even students don’t know about. It was heartwarming to see the local community and the University come together.

The most memorable part of the concert for me is actually the opening piece: it began quietly and suspensefully before growing into a fascinating, powerful melody that really boasted how wonderful the acoustics in the Michigan Theater is. I normally attend orchestral performances in Hill Auditorium, which is renowned for its acoustics, but due to its sheer size, the music doesn’t reach the outer audience as well.

Another highlight was concertmaster Katie Sesi’s solo in Vivaldi’s Winter. I don’t know what to comment on her playing beside it being phenomenal. This will be the last semester Katie, who is also Executive Director, will be in Pops. Her speech was very bittersweet, and I’m glad she got to be featured in various ways like also being conductor.

How hard the students worked really showed in their performance: it was incredible how well-timed the OSTs and films were with each other, and I particularly enjoyed the scene in the Harry Potter film when Buckbeak, a dog, bites Malfoy by yawning. The audience’s offbeat clapping for the Victors was also hilarious.

Unfortunately, the singers’ voices didn’t project clearly, possibly because of the mics. The collaboration with the SMTD theater students was one of the pieces I was looking forward to the most, so that was rather disheartening.

Nevertheless, I still loved the event, and I look forward to what Pops will bring us in the future. 

Get it? Time theme? 😀

PREVIEW: MOSCOW MOSCOW MOSCOW MOSCOW MOSCOW MOSCOW

Himaja Leave a comment

That’s a lot of “MOSCOW”s in the title! Let’s abbreviate, shall we?

WHAT: A performance of the play “MOSCOW x 6” by UM’s own Department of Theatre & Drama!
WHERE: the Arthur Miller Theater inside the Walgreen Drama Center (that pretty light green building down the road when you get off the bus at Pierpont!)
WHEN: See all showtimes here! I’ll be catching tomorrow night’s 8pm show. This show is on the October 1-15 Passport to the Arts — you can redeem a passport for a FREE ticket at the League Ticket Office!

Besides being intrigued by this play’s unusual title (it sounds like it’s shouting at me!), I was curious about the blurb that states: “It’s Chekhov’s “Three Sisters” for the Fleabag generation. A deftly comedic (and undisputedly raunchy) exploration of unchecked privilege.”

Who is Chekhov? What exactly is the Fleabag generation? I wondered. If you’re wondering too, don’t worry I’ll share my research.

“Three Sisters” is a 1901 play by Russian playwright Anton Chekhov that follows the lives of, you guessed it, three sisters. They feel trapped in their rural Russian town and long to move back to the big city of Moscow where they grew up.

“Fleabagging” is a dating phenomenon named after the hit dark comedy television series “Fleabag” created by Phoebe Waller-Bridge. It’s repeatedly dating the “wrong” person, careening from bad relationship to bad relationship, gravitating toward those who you know will never be “the one.”

Into this mix comes Halley Feiffer, a playwright who decided to reimagine “Three Sisters” for a contemporary audience. Add a splash of black comedy, a sprinkle of feminism, a slab of social critique and class commentary, and you get “MOSCOW x 6” — a play that seems startlingly relevant to our world today.

I am incredibly intrigued to see how our theater students will interpret this nuanced piece, especially given that the ongoing war in Ukraine has colored public perspectives of Russia and its crown jewel: Moscow. There will definitely be no shortage of interesting discussions after the show.

Note the following content warnings for this performance. Take care of yourself!
Contains suicidal ideation/mental illness; physical violence; homophobic language; depicted sexual content; foul language; misogyny; alcohol abuse

REVIEW: Somebody’s Children

Joann Leave a comment

Somebody’s Children, a tale of children who lives just next door to the land of the fairy tale, Disney land, but whose life isn’t so fairy-tale-like, asks the audience whether it’s really ok that some people are actually living in sucn unstable homes and clearly provides the answer-it’s not Ok. The play is written by José Casas, assistant professor at the University of Michigan, and the actors were consisted of students in SMTD. The setting takes place in a run-down motel just outside Disneyland, and while their personal stories are told in beautifully and powerfully written vignettes, the sorrows in characeters’ lives expands into a problem of social structure by the contrast of their unsafe living place and children who laughs happily in Disneyland, which is so close to where they are living. The stage design made this interesting setting even more clear – there was a huge and gorgeous sign that spells out ‘Disneyland’ on the right side of the stage. Glowing white, the sign had an aura that made sure that the audience was not missing it, but the actual shape of Disneyland was not shown; as if symbolizing that the real Disneyland did not existed to children living in the motel. With this direct contrast, the deprived feeling and anger that the characters are feeling is strongly delivered while raising the point that they could have also been the careless children who have a great time in Disneyland, and highlighting the brutallity of reality in which the children were pushed into. They were somebody’s ‘Children’. Their sorrow is valid and raw, but they are children, who should be kept away from those things. Who are to protect them? the play asks.

I want to highlight the actor’s amazing performances – as mentioned before, the play mainly consited of vignettes, so the lines were symbolic and poetic, rather than straight to the point. The actors expressed out the emotion that the children is reciting the vignette so well; the sad but happy, nostelgic look of a girl who danced with her imaginary quinceañera dress, how two boys exchanged roles to between a police man that stopped them on a night’s walk to get some ice and the boys who got pinned down even though they did nothing wrong swiftly was just awestrucking. Production was amazing as well – using sitting actors as poles to put up police line was not only visually intersting but also symbolized that the children in the motel were deeply embedded in all the tragedy happening in the place.

In all, Somebody’s Children was a beautiful and socially-conscious play that used experimental lines-vignettes-to deliver the theme and did it, not over-dramatically but emotionally affluently. Highly recommend to anyone looking for performances that speaks about the modern world.

REVIEW: Hair

Joann Leave a comment

I love the musicals where the ensemble comes out to perform multiple numbers. ‘Hair’ was one of the musicals where they made fantastic use of the whole cast. Colorful, wild, and energetic, ‘Hair’ was an exciting and dramatic performance. The actors’ wide-ranged, fast movements that filled the stage throughout the whole performance created the vibrant, dizzy, and youthful vibe that the hippie community (“tribe”) was sharing.

I also want to applaud the stage design and the set. While the actor’s vibrant moves were supposed to be the main part of the show, the set was there to back the actors up and make their moves even more dramatic. The colorful lighting design and stage set design served different purposes depending on the scenes. The orange/green colored one with squiggly patterns added to the vibrant energy of the show, while the skeleton concrete building which was the main structure of the stage design shifted from imaginary homes to a spotlighted platform for people that needed emphasis by the spotlight during Claude’s hallucination where George Washington, Abraham Lincoln, Scarlett O’Hara were introduced. The concrete-looking structure was designed neutrally enough to be perceived as a different location in each scene. It was a marker of space separation, which was highly necessary for this musical where the focus had to shift from one actor to another in a quick beat, and imagination and real-life interacted in the same space.

The most interesting moment for me was when Claude expressed his dilemma between his hippie identity and the call of the military after his hallucination. After he went through the hallucination passively, he, for the first time in the performance, got rid of the confidence of his hippie self and showed his vulnerability by being torn between his faith and duty. The change was most dramatic when he listed all the ‘practical’ and ‘proper’ job names such as lawyers and dentists. This is the part where he connected to being a real person in the performance, not a single-sided hippie-persona who is mercifully away from all the worries and woes of living. The actor playing this part made the change very clear.

Another interesting feature was how every actor nailed the expression of excitement and jolliness but added so much diversity to it. The people on stage felt like real people, not just people pretending to be constantly happy, which is impossible. If I ever get to see this performance again, I’ll be focusing on the actor’s expressions to catch the details of their actions.

Lastly, about the message: I think this musical spoke about how the ‘normality’ appraised by society could be dangerous. Through the dramatic contrast between the Hippie “tribe” ’s life and the ‘normal’ life of the audience, ‘Hair’ is speaking about how the dangerous concepts and urges could be appraised by being framed as ‘normal’.