Evolution is real, but it's usually something that's out of view, the process hidden over the course of many years. But the Ann Arbor group Hydropark evolved before our ears -- and quickly.
The band formed as a trio in 2013 when drummer Chad Pratt, keyboardist Chuck Sipperley, and guitarist/keyboardist Fred Thomas would get together and create noisy instrumental jams that focused more on texture than melody, hammering out aggressive, improvised space rock. You can hear these practice-room freak-outs on four cassettes the group released in 2013-2014, two of which are on Hydropark's Bandcamp page.
Time, space, and matters of the heart converge in Mia Chung’s surreal drama You for Me for You.
Chung’s 2012 play hits on two red-hot topics -- immigration and the tension between North Korea and the United States -- in a story of two loving sisters who become separated in time and space.
You for Me for You will be presented Feb. 15-18 by the University of Michigan’s Department of Theatre and Drama at the Lydia Mendelssohn Theatre.
Everyone gathered once all the tables had been pushed together in the center of the room and enough chairs had been scrounged. Scripts were handed out and a notebook was passed around for the actors and crew members to write their names, roles, and contact info while introductions were made around the large makeshift table.
There were no monsters or mythical creatures in sight.
Everybody loves Anton Chekhov’s plays. They’re thought-provoking, they’re poignant, and they’re hilarious crowd-pleasers.
OK, that last one might be a bit of a stretch, but at least Wild Honey, Michael Frayn’s adaptation of Chekhov’s untitled first play, is a hilarious crowd-pleaser.
Two complementary exhibitions at Stamps Gallery engage in themes of social and political progress through photography and graphic design.
Celebrate People’s History posters, a project organized by Josh MacPhee since 1998, is “rooted in the do-it-yourself tradition of mass-produced and distributed political propaganda,” according to the Stamps website. Furthermore, “in dark times, it’s rare that a political poster is celebratory, and when it is, it almost always focuses on a small canon of male individuals: MLK, Gandhi, Che, or Mandela.”
I have a chaste crush on Joe Biden.
There is something special about him that shines through in a way that speaks to my heart. He’s one of those people onto whom I have projected unsolicited personal significance. When times are tough, Joe Biden is one of those people I think of to help me through a difficult time.
When I found out he was going to be at the Michigan Theater as a part of his American Promise tour, I bought a ticket immediately. Now, 193 days later, a failed attempt to download my ticket, three customer service calls, and one backup ticket purchase later I found myself in a large line of people waiting to hear the former vice president on Monday, Feb. 5.
Joseph Keckler is a writer, artist, actor, musician, and singer with a three-octave range, and he often blends all those talents while creating his art. Because of his multidimensional skills, Keckler is frequently called a performance artist, which is fine by him.
“I didn’t intend to be one," the Michigan native said, "but it’s a good umbrella term for me and people like me who don’t fit into a particular discipline. ... So while I’m still not sure I am (a performance artist), the label has given me a great deal of permission to create my own way of working and to pursue certain traditions outside the traditional realm.”
Keckler graduated from the University of Michigan and he makes his triumphant return to Ann Arbor on Wednesday, Feb. 7 as part of the Penny Stamps Speaker Series where he'll read from his recently published book of essays, Dragon at the Edge of a Flat World: Portraits and Revelation.
Anıl Çamcı is a builder, but the materials he uses aren't wood and nails. The assistant professor of Performing Arts Technology at the University of Michigan creates worlds from soundwaves, constructing sonic cities with software and synthesizers.
This is Çamcı's first year teaching at U-M, coming from the University of Illinois at Chicago's Electronic Visualization Laboratory and, previous to that, Istanbul Technical University's Center for Advanced Studies in Music. But he's already managed to rework some of his compositions to take full advantage of the Chip Davis Technology Studio, a multimedia lab funded by the U-M grad and Mannheim Steamroller founder.
The Penny Seats Theatre Company has a celebrated history of presenting high-quality productions of shows that may not be especially well known. Peter and the Starcatcher, and Jacques Brel Is Alive and Well... are some of the just-out-of-the-mainstream productions the theater company has offered the last few years.
The Penny Seats' newest production, Edges, written by University of Michigan alumni Benj Pasek and Justin Paul (of The Greatest Showman, La La Land, and Dear Evan Hansen fame) is no exception. Edges is a song cycle, which means there isn’t much plot, but instead a central theme; in this case, navigating the adventures and struggles that come with being in your 20s. (The musical's best-known tune is "Be My Friend," aka "The Facebook Song.")
Edges is being staged at the Kerrytown Concert House from Feb. 8-16. I spoke with cast members Matthew Pecek, Kristin McSweeney, and Logan Balcom about the differences between working on a song cycle and a more traditional musical, the show’s relevance for people in their 20s and beyond, and more.
You’re setting the energy level pretty high when you blast a Dick Dale surf-guitar version of “Hava Nagila” before the lights even go down. My expectations were high, too, for the first night of University of Michigan Department of Dance’s four-day Dancing Globally event (Feb. 1-4).