Generation A: U-M's United Asian American Organizations feted the diaspora in song & dance

MUSIC REVIEW

Minji Kim by Brian Lin

Minji Kim of Seoul Juice on stage at the University of Michigan’s Lydia Mendelssohn Theatre. Photo by Brian Lin.

On April 7, over 500 of the University of Michigan’s Asian Pacific Islander America (APIA) students gathered in the Lydia Mendelssohn Theatre for the 23rd annual Generation APA Cultural Show. Organized by the student-run coalition United Asian American Organizations (UAAO), GenAPA is a pan-Asian cultural show that features traditional, modern, and fusion performances of different Asian backgrounds to celebrate the dual diversity and unity within the Asian diaspora.

This was my fourth year attending and the second year performing as a part of Seoul Juice, a Korean-American singing and instrumental cover group, alongside performances like Vietnamese and Chinese fan dances, Korean traditional percussion and pop, Indian classical dance and song, Mongolian instruments, spoken word, hip-hop dancing, and more. 

U-M's University Philharmonia Orchestra closed its season with a Spanish tinge

MUSIC REVIEW

U-M's University Philharmonia Orchestra logo

U-M's University Philharmonia Orchestra wrapped up its 2017-2018 schedule on April 17 with a sonic Spanish tapas along with an exploration of a once-controversial French piece steeped in Germanic influences.

This was my first time in the magnificent Hill Auditorium. While I was reading the program before most of the orchestra came out, I heard a deep, stirring, bellow of a note from the stage. As a bass clarinetist myself, I recognized it as one of the lowest notes that can be played on the instrument. For me, the sound signified that it was going to be an enjoyable night.

Still Lifes Are Anything but Still: Poet Diane Seuss at Literati

WRITTEN WORD REVIEW

Diane Seuss with her book Still Life with Two Dead Peacocks and a Girl

"Self Portrait with the Ashes of My Baby Blanket":

Ashes because she set fire to it in the burn barrel.
Leave her alone, with your newfangledness.
I was a clingy, fearful thumb-sucker, and she knew I needed reinventing.

She tore it away and I screamed and she burned it.
Begone, soft, pale yellow. She knew if I kept it I’d stumble over it
The rest of my life, how far I would travel without it,

And how many strange birds I would trap
in the story of its burning.

At a Literati reading this past Friday, poet and professor Laura Kasischke introduced Diane Seuss by reading one of her poems, “Self Portrait with the Ashes of my Baby Blanket.” The poem centers on Seuss’ mother, who is an important figure in her new book of poems, Still Life with Two Dead Peacocks and a Girl. The first and last poem, "I Have Lived My Whole Life in a Painting Called Paradise” and “I Climbed Out of the Painting Called Paradise,” introduce the reader to a heavenly, creative world that Seuss is able to inhabit but one that her mother, who is not a writer, cannot. Seuss “leaves” the painting to rejoin her family at the end of the book. 

"Gruesome Playground Injuries" continues Kickshaw's dedication to challenging theater

THEATER & DANCE REVIEW

Kickshaw Theatre's Gruesome Playground Injuries

Doug (Michael Lopetrone) and Kayleen (Dani Cochrane)flirt with romance and self-sabotage in Gruesome Playground Injuries. Photo by Sean Carter Photography.

Fittingly, Rajiv Joseph’s Gruesome Playground Injuries, now being staged by Kickshaw Theatre at Ann Arbor’s trustArt Studios, starts in a parochial school’s infirmary, where a deep, lasting friendship takes root between a girl and a boy who recognize in each other a common compulsion toward self-destruction.

The boy, Doug (Michael Lopetrone), is a reckless, thrill-seeking daredevil, while the girl, Kayleen (Dani Cochrane), suffers from stomach problems and later develops a serious cutting habit. The 80-minute play shows glimpses of these two characters at several different ages, between 8 and 38, but it jumps around in time, inviting us to piece together the puzzle of Doug and Kayleen’s intense connection by shifting from childhood to adulthood and back again.

Art and science come together in Civic Theatre’s production of Tom Stoppard's "Arcadia"

THEATER & DANCE PREVIEW INTERVIEW

A2 Civic Theatre's Arcadia cast

L-R: Kate Umstatter as Hannah Jarvis, Laura Lilly Cotten as Thomasina Coverly, Chris Grimm as Septimus Hodge, and Russ Schwartz as Valentine Coverly in Ann Arbor Civic Theatre's production of Tom Stoppard's Arcadia. Photo by Lisa Gavan | Gavan Photo.

Melissa Freilich loves Tom Stoppard’s plays.

“Tom Stoppard always asks you to think and feel as well,” she said.

Freilich is directing the Ann Arbor Civic Theatre’s production of Stoppard’s Arcadia, opening April 19 at the Arthur Miller Theatre.

It’s a play that combines entertainment with thought-provoking discussions of everything from poetry and mathematics to thermodynamics.

Shaman Sounds: Abdullah Ibrahim at the Michigan Theater

MUSIC REVIEW

Abdullah Ibrahim and Ekaya at the Michigan Theater in Ann Arbor

Detroit baritone saxophonist Alex Harding (pictured far right) joined Abdullah Ibrahim and Ekaya at the Michigan Theater. Photo by Christopher Porter.

Abdullah Ibrahim's concert at the Michigan Theater on April 13 began like all his shows: the pianist alone on stage with his instrument, playing a meditative piece filled with sustained chords, floating harmonies, and a sound that slipped naturally from Bach to blues. Then Cleave Guyton (flute) and Noah Jackson (cello) joined Ibrahim for the chamber-jazz piece "Dream Time" from 2014's Mukashi.

It was in these solo and trio moments that listeners could best appreciate the 83-year-old Ibrahim's piano playing -- because otherwise, he didn't play much at all.

Tripping Hither, Tripping Thither: UMGASS delights with "Iolanthe"

THEATER & DANCE REVIEW

The Fairy Chorus and Iolanthe Herself

The Fairy Chorus of Iolanthe at the Mendelssohn Theater.

This weekend, the University of Michigan Gilbert and Sullivan Society (UMGASS) stages Iolanthe, bringing Thirsty Fairies, Peer Pressure, and one long strange trip of a dream sequence to the Mendelssohn Theater. Iolanthe is the seventh of Gilbert & Sullivan's 14 comic operettas, steeped in the class divisions and political satire of the day, with a hearty dollop of supernatural weirdness.

Directed by Greg Hassold and featuring an extremely solid pit orchestra led by Thomas Burton, this wonderfully busy production has a lot going on in every scene and is just dripping with the talent of fresh-faced leads, seasoned supporting characters, and a chorus that is plainly having a wonderful time.

From the Hartland: Purple Rose Resident Artist David MacGregor pens plays in Michigan

THEATER & DANCE INTERVIEW

David MacGregor

Playwright David MacGregor on the set of Gravity, staged by the Purple Rose Theatre in 2010.

“What the hell?” David MacGregor says from across a Formica table in Leo’s Coney Island in Hartland, Michigan.

This "what the hell?" is not coming from frustration or outrage, but from a sense of “what are the odds?” 

MacGregor says his story is entirely unlikely. After all, he is a successful playwright living and working in Hartland, Michigan, who has received international acclaim for his works Gravity, The Late Great Henry Boyle, and Vino Veritas, all of which have been performed by Jeff Daniels' Purple Rose Theatre Company in Chelsea, where MacGregor is a Resident Artist.

In Extremis: Colin Stetson’s interpretation of Górecki’s Symphony No. 3 pushes it to the edge

MUSIC PREVIEW INTERVIEW

Colin Stetson

Henryk Górecki’s Symphony No. 3, Op. 36 is nearly an hour-long dive into anguish.

But rather than sounding angry, aggressive, or atonal, the three movements that comprise Górecki’s “Symphony of Sorrowful Songs” are stunningly beautiful.

Symphony No. 3 is filled with dolor, but the modal framework, simple harmonies, and gentile repetition give the music a familiar and comforting feeling despite being inspired by stories and songs of mothers and children being separated by war.

On the album Sorrow -- A Reimagining of Górecki's Third Symphony, Ann Arbor native Colin Stetson tweaks the mega-popular work in a way that stays true to the composition’s raw emotional state while also diving deeper into its deep well of gorgeous despair. (You can hear Stetson and 11 other musicians in the Sorrow band, including Ann Arbor’s Justin Walter (EVI, synths), Dan Bennett (sax), and Andrew Bishop (sax), perform the piece at the Michigan Theater on Saturday, April 14.)

Theater for the People: U-M's "Me and My Girl" is a rollicking populist musical comedy

THEATER & DANCE PREVIEW INTERVIEW

U-M's Me and My Girl

Elliott Styles as Bill Snibson and Sophie Madorsky as Sally in the U-M Department of Musical Theatre’s production of Me and My Girl playing at the Power Center April 12-15. Photo by Peter Smith Photography.

It feels a bit like director/choreographer Linda Goodrich, a professor in U-M’s musical theater department, has long had a date with destiny regarding the 1937 British musical Me and My Girl.

For although the show had long been one of Britain’s biggest home-grown stage musical hits, it didn’t make its Broadway debut until 1986 -- the same year Goodrich moved to New York.

“I remember seeing it on a marquee, but I never did see it,” said Goodrich. “In fact, I’d never seen it on stage before we started rehearsals. I’d always been familiar with the music and been curious about the show, but it just never crossed my path again.”