Arthur Conan Doyle purists may be shocked. But imagine an alternative universe in which Doyle’s famous detective Sherlock Holmes and “the woman” Irene Adler are lovers and live together at 221B Baker Street with Holmes’ trusted companion and chronicler Dr. John Watson.
That’s the set up for Detroit playwright David MacGregor’s hilarious Sherlock Holmes and the Adventure of the Elusive Ear at the Purple Rose Theatre.
Why do we bother going out to movie theaters -- with their expensive, salty popcorn and sticky floors -- when we could just sit in the comfort of our own homes binge-watching television? I believe it’s because there’s something nourishing in having a communal experience with others when we’re listening to stories.
There’s something even more fulfilling in watching live theater, especially local and intimate theater, when you’re packed into a room listening to performers who have honed their craft. When done well, it feels deeply personal.
This is the intention of the AADL Pub Reading Series presented by Pulp in partnership with PencilPoint TheatreWorks: a set of staged readings that will be performed at Conor O’Neill’s on the fourth Sunday of each month from April through July. All four of the plays chosen for the Pub Reading Series focus on connecting, and on people who struggle to form a community. They’re also each a witty and brilliant play in their own right.
The University of Michigan Museum of Art’s exhibition Exercising the Eye: The Gertrude Kasle Collection presents an array of works by influential artists of the 20th century. Many of these artists, as pointed out by the exhibition organizers, were, in part, brought to prominence in the Midwest by Gertrude Kasle’s (1917-2016) promotion of their works.
Historical events, when presented as a series of statistics and dates, have far less impact on us than they do when integrated into a human story.
This is why, of course, history is the backdrop for so many movies, plays, television shows, and novels. These entertainments let us briefly experience what it was like to be living when a specific historical moment was unfolding around us. And most recently, in our own backyard, the 50th anniversary of the 1967 Detroit Riots/Rebellion -- depending on who’s telling the story -- spawned a number of creative works that helped us revisit this pivotal moment in the Motor City’s history.
University of Michigan graduate (and Detroit native) Dominique Morisseau got a bit of a jump on things, premiering her play, Detroit ’67, in New York in 2013. The drama -- now being staged by Eastern Michigan University’s Theater Department -- won the 2014 Edward M. Kennedy Prize for Drama Inspired by American History, and ended up being the first in a Morisseau-penned trilogy focused on Detroit’s past. (Paradise Blue and Skeleton Crew were the second and third.)
“Trust me when I tell you this isn’t a white savior story. This is a white nightmare story.”
If I were a moth, the story of white men reckoning with race in America would singe my wings every time. With that in mind, I was not disappointed when I went to see Travis Wilkerson’s Did You Wonder Who Fired the Gun? on March 24 as part of the Ann Arbor Film Festival. In fact, there are about eight pieces I could write about this film, which was one of the 10 features in competition at the year's fest and ended up winning the Michael Moore Award for Best Documentary Film.
The Penny Seats Theatre Company has never been afraid to produce shows that are daring, out of the mainstream, or sometimes both at once. The troupe's upcoming production, Matt & Ben, written by Mindy Kaling of The Office and The Mindy Project fame, with her friend and The Office writer Brenda Withers, combines both of these elements. The play, set in 1995, tells a hilarious story: then struggling actors/writers Ben Affleck and Matt Damon, receive a fortuitous boon when a script (which becomes Good Will Hunting, the movie which launched both of their careers) falls from the sky into the apartment they share.
Kaling and Withers, who starred as Affleck and Damon respectively, in the original Off-Broadway production of Matt & Ben, wrote the satire with the intention that the two male roles be played by women. This, combined with the absurdity of the plot, creates an evening of theatre that is sure to have the audience thinking, considering social norms, and laughing uproariously, all at once.
I spoke with Allison Megroet and Allyson Miko, who will play Matt and Ben in the Penny Seats production, which opens at Conor O’Neill’s Irish Pub and Restaurant in Ann Arbor on April 5.
“The diaspora is a cultural continuum. An ever-evolving consideration of Blackness is its vehicle.”
--Ashley Stull Meyers
The United Re: Public of the African Diaspora Television (URe:Ad TV) special program at the Ann Arbor Film Festival was an experience.
URe:AD TV is a network of creators who make print and audiovisual work by and for the African diaspora. Curated by Shani Peters and Sharita Towne, the works grapple with the meaning(s) of black representation. By "grapple," it could be said that these works record meaning, and make meaning.
As an archivist, Pat Thomas is focused on letting the subject speak or sing unadulterated. So, whether it's working on album reissues for the Light in the Attic label and others, or writing about the Black Panthers and other political movements, Thomas wants voices and ideas to be presented as the artists and activists intended.
Thomas' latest search for the truth is Did It! From Yippie To Yuppie: Jerry Rubin, An American Revolutionary, which follows his other graphics-heavy book for Fantagraphics, Listen, Whitey!: The Sounds of Black Power 1965-1975.
Those who don't closely follow the opera world may not think of the artform as a medium that addresses issues any less than a century old. But the 2014 opera As One, which will run April 6-7 at the Kerrytown Concert House, addresses one of the biggest social issues in our current public discourse: the experience and rights of transgender people.
It’s amazing how, when a brilliant script is masterfully executed, three and a half hours can seem to pass in the blink of an eye.
Yet that’s the experience you’ll have if you’re lucky enough to catch the University of Michigan Department of Theatre and Drama production of Tony Kushner’s Angels in America, Part 1: Millennium Approaches -- which is so terrific that it’ll remind you all over again why the play has earned its status as a timeless masterpiece.