"I have a crisis for you": Women Artists of Ukraine Respond to War was first shown at the University of Michigan's Lane Hall Exhibit Space last August 25 through December 16, and it was brought to U-M's Weiser Hall from January 3 through February 23.

And the curators don't think the exhibition is complete.

“I can’t say it's a finished project, because it will have afterlives,” said co-curator Jessica Zychowicz, director of the U.S. Fulbright Program in Ukraine, who also earned her Ph.D. from U-M.

She and co-curator Grace Mahoney—a Ph.D. candidate in Slavic languages and literatures, and a graduate fellow for exhibits at the Institute for Research on Women and Gender at U-M—hope the multimedia exhibit keeps finding new venues beyond Ann Arbor and can serve as an educational tool, or at least serve as an archive of work in which women describe and respond to their own particular experiences of war.

"I have a crisis for you" features paintings, writing, photos, and more by:

- visual artist and sculptor Kinder Album
- photographer J.T. Blatty
- visual artist and U-M grad student Oksana Briukhovetska
- visual artist and designer Sonya Hukaylo
- filmmaker, artist, and performer Oksana Kazmina
- visual artist Lesia Kulchynska
- poet and translator Svetlana Lavochkina
- visual artist Kateryna Lisovenko
- poet and screenwriter Lyuba Yakimchuk

Zychowicz and Mahoney did their curation remotely: Mahoney from Ann Arbor; Zychowicz from Warsaw, Poland, where she moved from Kyiv when the invasion began. To inform the project, the curators drew on previous relationships they had with the artists and writers as well as their own scholarship: Zychowicz is the author of Superfluous Women: Art, Feminism, and Revolution in Twenty-First Century Ukraine, and Mahoney is the series editor of Lost Horse Press' Contemporary Ukrainian Poetry Series.

Zychowicz and Mahoney recently talked with me over Zoom to discuss the exhibit. Our conversation was edited for clarity and length.

Back in October, two Michigan folk singer-songwriters formed an unexpected partnership.

Ann Arbor’s Annie Bacon and Alto’s Kyle Rasche met at the Folk Alliance Region Midwest conference outside Chicago and quickly learned they would be ideal collaborators for a new musical.

“I think we both knew of each other, and I was a fan of Annie before we [had] actually met in person because she had written this amazing folk opera a few years ago,” said Rasche, who writes, records, and performs under the moniker Chain of Lakes. 

Within only a few short hours of meeting Rasche, Bacon started writing the initial songs for a full-blown, stage-ready musical called The Keeper and shared them with him.

“I’d done my stalking and knew she’d be great to work with and immediately shared my dream with her to write a musical that had been germinating for a few years,” he said. “She came back to my room later to work on it with a bunch of it already written.”

Shannon Lee wanted her new album to progress like an emotional journey, from the pain of a broken relationship and the loss of a loved one to the rediscovery of love. The seven songs on Stars trace that quest, though it’s a subtle sojourn.

“I’m not sure if other listeners can tell but I wanted to start the album off with my heartache and loss and have the album move toward lighter themes, which I think I accomplished,” said the Ypsilanti-based Lee.

“Anymore” and “I’ve Gone Away” cover the break-up phase, while “Brother” recounts the tragic loss of her brother on New Year’s Day four years ago and “Stars” imagines his light shining down on her. Lee then pays tribute to a fellow songwriter on “Sunni Leilani” and closes Stars with two songs, “Here to Stay” and “Sing to Me,” that revel in love.

Lee’s songs share elements reminiscent of folk and Americana artists such as Emmylou Harris, Brandi Carlile, Patty Griffin, and Lucinda Williams, and cites artists who were played in her house while growing up as influences.

“I always had an ear for music; ever since I was a kid,” Lee said. “I had a knack for picking out harmonies in three or more part harmony singing, too, and always found myself singing along to my dad’s records. His collection of course had Fleetwood Mac, Led Zeppelin, Crosby, Stills and Nash, and many more in that classic rock vein.”

It’s no secret, this is a divided country. The chasm has widened between liberal and conservative, rural and urban, and religious and not so much. We don’t talk to each other; we scream at each other.

Playwright Eric Pfeffinger takes this disturbing truth and imagines what would happen if right meets left under unusual circumstances in Human Error, a comedy having its Michigan debut at the Purple Rose Theatre Company in Chelsea.

Madelyn and Keenan, described as NPR-listening, latte-sipping blue staters, have gone to a fertility clinic in hopes of starting a family. Unfortunately, as a nervous doctor tells them, their fertilized embryo has been implanted in another woman’s uterus.

Heather and Jim, described as small-government, churchgoing, card-carrying NRA members, agree to meet with Madelyn and Keenan, and after discovering they don’t have horns, Heather agrees to give the liberal couple the baby when it’s born. 

Director Lynch R. Travis and his uniformly excellent cast do a good job of balancing Pfeffinger’s mix of broad comedy and heartfelt connections. The set is simple and spare. White chairs become a car, storage bins, and love seats. The stage backdrop is a set of curved gray-white walls for easy entries and exits. The audience is not distracted by scenery from the point the playwright hopes to make.

It’s been a while since local acoustic music fans have heard from Misty Lyn Bergeron, the accomplished singer, songwriter, and leader of the standout roots band Misty Lyn & the Big Beautiful. 

A serious car crash, a global pandemic, and other issues created some challenges and delays, but at last there’s a new album out, Narrows, and it’s more than worth the wait. It features Bergeron’s warm, expressive voice; her first-rate band, and a fresh batch of well-crafted songs about some big themes like love, friendship, and perseverance.

To celebrate Narrows, Misty Lyn & the Big Beautiful are having a record-release show at The Ark in Ann Arbor on February 17.

"Jim Roll will be our special guest, and it’s also how I’m celebrating my birthday," Bergeron said. "The Ark is my absolute favorite venue, and it has been years since my whole band has been on that stage. I am so excited to share this music alongside these amazing artists. It’s going to be a special night for us!"

Bergeron is also a talented photographer, but we focused on her music in this email interview.

It was still early in rehearsals and cast members were beginning to master an unfamiliar language as well as a different set of values in a distant time. It was the ’90s when a queen reigned and defined an age.

No, not the 1990s, the 1890s.

That’s when Oscar Wilde’s The Importance of Being Earnest made its debut. 

The University of Michigan School of Music, Theatre & Dance will present Wilde’s giddy and ever-popular comedy February 16-19 at the Arthur Miller Theatre. 

Every year musical theater majors at the University of Michigan perform in a non-musical production. It’s all part of making theater students at ease in both musical and non-musical productions and honing their skills.

Production director Vincent Cardinal, a professor of musical theater at the University of Michigan, has directed and produced scores of productions across the country and is also a noted playwright. Cardinal said Wilde makes it easier for the actors to get into the Victorian era.

“You’re never in better hands than someone like Oscar Wilde,” Cardinal said. “Wilde is going to give them great language, really great characters, and they’ll be really good. When not solving problems, they’re becoming really good at their craft.”

Friday Five highlights music by Washtenaw County-associated artists and labels.

This week features meditative electronica by Tetra Music Project, folk-pop by Big Chemical, rock 'n' roll by Cracked & Hooked, a ballad by Brad Phillips, and a compilation from the Calculated Beats collective.

Jen Silverman’s Bonnets (how ladies of good breeding are induced to murder) is so violent that it took a fight director and two assistants to choreograph it. Death by poison arrow, chainsaw, Ninja—it’s all there for your delight and horror. Even God, a character in the play who opens every scene, is powerless to stop it.

The chorus of one song in Bonnets goes like this:

Chop, chop, chop, chop, chop, chop
We killed a man a-piece and we just couldn't stop!
Glug, glug, glug, glug, munch, munch,
Join me for tea-time, you might not live to lunch.

Will anyone survive in the dark comedy that runs February 16-19 at Lydia Mendelssohn Theatre?

Pricilla Lindsay, who directs University of Michigan theater students, says the play shifts between three eras. “Silverman picked three of the many times men have subjugated women—Salem in 1690, England in the 1890s, and France in the 1600’s, during the reign of Louis XIV. All three periods are not special but indicative of women being moved to the side. In our play, women wreak havoc and get revenge by actually murdering.”

These women don’t stop at killing their abusers.

“A young girl who is having an affair with a married man accuses his wife of being a witch,” Lindsay says. After his wife hangs, the man decides to leave for Boston—without his young paramour. ”You’re dead to me,” she declares.

In this play, that can only mean one thing.

What’s weirder than learning that there’s a stage musical adaptation of Herman Melville’s Moby Dick? 

Learning there are two, actually, one from 1990 and another from 2019.

And the Moby Dick adaptation that came first, which includes a book by Robert Longden along with music and lyrics by Longden and Hereward Kaye, is the one that local theater artist Ron Baumanis has been jonesing to stage via his company, Ann Arbor Musical Theater Works. 

“Whenever I see a show, whether it’s on Broadway or the West End, I always leave thinking, ‘Would I want to do it or not,’” said Baumanis, whose Moby Dick production begins its two-week run February 9 at The Children’s Creative Center.

“When I saw this in the West End, by intermission, I thought, ‘I’ve absolutely got to do this show someday.’ … I was drawn to the weird mix of the show’s all-out hilarious comedy with British pantomime and a lot of burlesque elements.”

If there’s one common thematic thread between British theater artist Rachel Mars’ two shows, Our Carnal Hearts and Your Sexts Are Shit: Older Better Letters, it’s desire and the ways in which it’s expressed.

Both shows wrapped up UMS’s No Safety Net event series with Our Carnal Hearts quickly assuming the feel of a darkly comedic, secular church service complete with a small choir on a bare stage. It takes envy as its focus and explores how our ego reflexively ties itself in knots when a peer or loved one succeeds.

Mars even has the audience say, in unison, “Congratulations! I’m so happy for you!” in the same fake-enthusiastic tone we’ve all employed at one time or another in the interest of appearing like an adult instead of a petulant child.

Presented in the round, Our Carnal Hearts features a different singer—Rhiannon Armstrong, Rebecca Atkinson-Lord, Kelly Burke, and Louise Mothersole—seated in the middle front row of each side. It also combines cheeky musical asides composed and arranged by Mothersole, short audience interactions, and storytelling to plumb the question: why does another’s triumph inevitably make us feel small or less than?