To the Beat of Their Own Drummer: The Rasa Dance and Theater Festival spins off to highlight works from India
Sometimes a multi-arts celebration does such a good job at presenting its multiple arts -- dance, theater and musical performances, visual arts exhibitions, literary events, film festivals, and culinary showcases in the case of Akshara's India-inspired Rasa Festival -- that it has to split itself up just so those interested can find the time to attend.
Rasa has filled venues in Washtenaw County every September and early October since its 2017 inception, but Ann Arbor's Sreyashi Dey -- dancer and president and artistic director of Akshara -- admits the dozens of high-quality events the festival presents became something of a traffic jam.
"What we were finding is that everything being concentrated and focused on in one month left a lot of people out even though they were interested in various events," she said. "There's always conflict and it's a busy time when people are coming back to school and other things are picking up."
The Rasa Festival will still be roaring throughout September 2019, but some of the dance and theater elements now have their own summer spotlight. On June 15, three dances and one dastangoi (storytelling) performance will happen at Riverside Arts Center in Ypsilanti, with many of the works featuring a strong feminist point of view. (There will still be some dance mixed into the fall fest, too.)
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more). If you're reading this in the future and a story link is dead, look up the URL on web.archive.org; we've cached every post there.
Featuring a new mix of Ghostly music by Shigeto and Charles Trees to celebrate the Ann Arbor-launched label's 20th year, the NSFW debut video by Ypsi rap duo Guttatown, the EMU-graduates-made fantasy film "Pandora's Wish," and much more.
The list is long, much too long.
Sometimes it seems like every few days a black American is gunned down by a police officer. They are often unarmed, unthreatening and involved in confrontations with the police that should have never escalated into deadly violence.
Sometimes the police officers involved go to jail, many times they don’t.
In a burst of blinding light, gunshots, and the cacophony of urban noise, a man is thrust on to a stage, a bare closed room from which he can not escape. It’s a sort of limbo, where he waits for a judgment about what it was that brought him here. He is a fatal victim of police violence. He is in turn followed by three other black men into this limbo. As one victim says, it reminds him of an episode of the old Twilight Zone TV show.
And they are in a show because the audience is visible to the four men. They comment on the audience and come to believe that the audience will decide their fate. In this case, and Ijames must have thought in most cases, the audience at Theatre Nova’s opening night was primarily white.
This message is for them.
Mother Carol (Lisa Coveney) is anxiously putting together the perfect 21st birthday party for her son Andy, who is severely disabled and living in a care home. Also invited to the party are Carol’s parents, Patricia (Lenore Ferber) and Brian (Michael Haifleigh), and Carol’s adult daughter Claire (Katie Whitney), who takes this opportunity to introduce her new boyfriend Mark (Chris Krenz) to the family. Carol’s estranged husband Ian (Brian Hayes), who abandoned the family when Andy was a baby, also chooses to attend unannounced. In the words of producer Tim Grimes, “The intrusion does not go well.”
Now in its 20th year, Redbud Productions, offers acting classes for adults and high school students using the techniques of Sanford Meisner, which, among other things, focus on emotional work.
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more).
Featuring new music by The Kelseys and Stef Chura, plus a short film about sleeping in various public spots in Ann Arbor at 5 am, and much more.
Ypsilanti's Neighborhood Theatre Group closes their 2018-2019 season with original sketch comedy show Trending Now, highlighting the humor found in "fads, fashion, and fandom."
NTG has always had its hand on the pulse of popular culture. In previous seasons, their annual sketch show has asked, "What is love?" (Sketchual Healing, 2017) and "Can I Help You?" (focused on customer service, 2018). There is catharsis in poking fun at ourselves (and each other) and having a good laugh.
Topics this time around include a Klingon wedding, Grandma's misuse of internet initialisms, Lite-Brites, spoiler alerts, who is the best Doctor Who, dance-offs, how Facebook knows our every desire, #RaisingAwareness, and a rousing game of Craft Beer or Race Horse? with audience participation (it's harder than you might think).
A round-up of arts and culture stories featuring people, places, and things in Washtenaw County, whether they're just passing through or Townies for life. Coverage includes music, visual art, film & video, theater & dance, written word, and Pulp life (food, fairs, and more). Sources this time are:
➥ All About Ann Arbor
➥ Ann Arbor Observer
➥ CTN Ann Arbor
➥ Detroit Free Press
➥ Detroit Metro Times
➥ Detroit News
➥ Encore Michigan
➥ Life in Michigan
➥ Lifting Up A2 Jazz
➥ The Michigan Daily
➥ The Saline Post
➥ WCBN Local Music Show
➥ We Love Ann Arbor
I went to the Martha Graham Dance Company's April 26 performance at the Power Center and was blown away. (The troupe also performed April 27.)
I’ve seen the Martha Graham Dance Company (MGDC) on several occasions before, as well as many of the endless companies the group's namesake has inspired, but never before have I loved them so much. The dancers performed four pieces: Secular Games (Martha Graham), Deo (Maxine Doyle & Bobbi Jene Smith), Lamentation Variations (Aszure Barton/Nicolas Paul/Larry Keigwin), and Chronicle (Graham). Each piece was emotional, wholly different, and an example of ferocious physical ability.
MGDC is in its 93rd season, which makes it the oldest dance company in the United States; they first appeared in Ann Arbor in 1932. Watching on Friday night, I was struck by how fresh Graham's choreography feels, even almost a century later. Graham is credited with the creation of a new American art form in modern dance. Her movements use sharp angles and the pull of gravity, both of which set her apart from ballet. Her work is also unbelievably difficult. There are moments in her choreography where I couldn’t believe what I was seeing: for example, one dancer did a series of split leaps into the air from a standing position across the length of the entire stage. Even the onstage pauses in movement, which are usually put into a piece to give the audience a moment of stillness and the dancers a moment to breathe, are angular and uncomfortable.
There is no rest for a Martha Graham dancer.
Director Matthew Brennan in his program notes writes that he was taken with the idea of a circle of community, love, commitment, and, since the play’s action occurs on the day of a wedding, the symbolic wedding band. So this classic, romantic musical comedy lends itself well to a center stage with action playing along all aisles, making the audience residents for a night in the close-knit community of Brigadoon.
We feel the magic of this town and its people in this near-perfect production.
Beloved community institution UMGASS (The University of Michigan Gilbert and Sullivan Society) is back this weekend with a lovely production of Gilbert & Sullivan's last hit, The Gondoliers, or the King of Barataria.
Director and UMGASS staple Lee Vahlsing points out in the show notes that The Gondoliers was the product of a compromise by producer Richard D'Oyly Carte to get another comic opera out of the simmering tensions of the relationship between Gilbert and Sullivan (at the time in 1889, Sullivan had already been knighted by Queen Victoria, but Gilbert would not be knighted until years later, in 1907, by King Edward); if they would collaborate on another comic opera, D'Oyly Carte would produce Sullivan's Grand Opera, Ivanhoe, and he would be taken seriously by high society at last, or something.
At any rate, as Vahlsing notes, this arrangement led to greater collaboration between the two than the rut they had fallen into, and the result is one of their best and most beloved Operettas. Lovingly staged with two charming sets and including truly impressive costuming, the only hint of modernity in this faithful production is a bit of Charleston in the choreography -- and perhaps a touch of Iron Maiden here and there.