Stamps Gallery’s Have We Met? Dialogues on Memory and Desire explores the artworks of political and social groups that have helped shape Ann Arbor. Curated by Srimoyee Mitra, the large gallery is packed with posters, paintings, digital art, sculptures, installations, video, and spaces for visitors to sit and research social movements and histories represented by the artists. The exhibit takes the gallery space into question, with installations that invite viewers to physically engage with their surroundings throughout the gallery.
The exhibition specifically draws from social movements in Ann Arbor, such as the anti-war and civil rights movements, and the experimental art collective The Once Group. Have We Met? features materials from University of Michigan’s Labadie Collection and the Bentley Library, in addition to “radical artworks by diverse, multigenerational artists and designers whose works are deeply influenced by the ideas of freedom and self-determination; rewriting canonical accounts of history.”
In the summer of 2011, Lauren London, now general counsel at Eastern Michigan University, brought together a troupe of unpretentious and fun-loving thespians who created the Penny Seats Theatre Company. The idea was to offer theater tickets that were about the price of movie tickets, affordable for all, echoing the penny seats available to Elizabethans who came to shows at Shakespeare's Globe Theatre.
After opening its first production at the bandshell in West Park, Penny Seats performed in assorted venues, outdoors and in, including a restaurant, a church, and the rehearsal room of a theater -- but never in a theater. They struggled with imperfect acoustics and limited equipment, becoming more technically savvy each season. And each season, Penny Seats did more and better productions. Now, they do four-show seasons that include summers in the park.
Over the years, the company produced musicals, dramas, comedies, and cabaret shows, including some original works, such as Joseph Zettelmaier’s The Renaissance Man. Horror was on the menu, too, last October, with Henry James’ The Turn of the Screw, and in the park last summer with Zettelmaier’s The Gravedigger and the musical based on Mel Brooks’ Young Frankenstein.
There was no thought of making a habit of horror. Then Zettelmaier had an idea, which he presented to London and the rest of the board.
At one point during Thursday night’s sold out, joyous on-stage conversation with Grammy, Tony, and Oscar award-winning songwriting team Benj Pasek and Justin Paul -- who met and started writing songs together when they were U-M musical theater students (’06) -- surprise guest moderator Darren Criss (Glee) stated what many of us were thinking: “Collectively, we’re a Michigan EGOT.”
Yes, Criss (’09) arrived in Ann Arbor fresh off his Emmy win for The Assassination of Gianni Versace: American Crime Story, while Pasek and Paul came to promote a newly released novelization of their hit Broadway show, Dear Evan Hansen.
But the nearly two-hour event, presented by Literati Bookstore at U-M’s Rackham Auditorium, mostly felt like a chance to crash a reunion of really talented, witty friends who’d also, along the way, perform a few songs and a short reading.
You don’t have to be a big spender to enjoy the University of Michigan’s engaging, dance-happy return to the 1960s, Sweet Charity.
Sweet Charity is a lighter, thinner adaptation of Federico Fellini’s film Nights of Cabiria. The Neil Simon book changes the prostitutes of Rome into New York City taxi dancers at the Fandango Dance Hall. And the story is a mere pretext for the often-exhilarating dance numbers and clever songs.
With music by Cy Coleman and lyrics by Dorothy Fields, Sweet Charity is always on the move from the minute that Nevada Koenig struts on stage as the ever hopeful and usually disappointed Charity Hope Valentine. This is a musical about frustrated romance, but it’s also a musical about dance and movement.
World-renowned guitarist and composer Pat Metheny has written a lot of music over a 40-plus-year career, and with his current tour he is taking the time to dig deeper into some of the older material. Rather than release an album and tour new tunes, he decided to put a small group of consummate musicians together who are capable of playing a wide variety of his music from across the decades. But don’t call this a retrospective. Instead, it’s more like research. The players are digging into the old tunes and finding new pathways to navigate. Metheny has clearly chosen his bandmates to be able to find fresh ways to improvise over his material.
Metheny’s UMS-sponsored performance on October 10 at Ann Arbor’s Hill Auditorium felt surprisingly intimate considering there were 4,000 people in attendance. The stage was set up almost like a rehearsal space, with the supporting musicians arranged in a tight circle around Metheny. The band played loose, keeping arrangements minimal and playing off of each other throughout the set. Metheny came out first, performing a beautiful solo piece on the 42-string Pikasso guitar, built for him by luthier Linda Manzer. The guitar itself is a work of art with a huge range, and Metheny used the whole instrument, fretting deep bass notes with his left hand while improvising beautiful harp-like melodies on the drone strings. Following that first piece, the rest of the band took the stage, and the energy kicked up and stayed up for the rest of the night.
Brenda Travis surprised me.
When she came to AADL on September 27 to discuss her book Mississippi’s Exiled Daughter with her co-author, John Obee, I hadn’t expected her to burst into song. But that’s exactly what she did, singing parts of "Ella’s Song," a tune written in honor of civil and human rights leader Ella Baker. The audience joined in, singing with her. Her talk was not to be a passive listening experience.
“Until the killing of black men, black mothers’ sons,
is as important as the killing of white men, white mothers’ sons ...
We who believe in freedom cannot rest until it comes”
--lyrics from "Ella’s Song"
Travis then explained that one of the reasons that she’s still on the civil rights journey is that she still believes in freedom. “There is still a place called hope," she said, "and we have to make hope our homes. We have to continue this struggle and fight until we can get it right. ... To the young people, I’m hoping tonight that I can instill or wake up something within you to want to carry on this battle, to carry on this fight, because if you don’t we’re going to be lost -- not just a nation but a lost world.”
“For Grace, whom I fell in love with then and do again and again …” --Julia Turshen’s dedication in her newest cookbook, "Now & Again"
Had food writer/home chef Julia Turshen and creative-community blogger Grace Bonney never fallen in love, I may not have been introduced to the cookbook author’s work. I had loosely followed Bonney’s work at Design*Sponge for years. While I’m not in the habit of following the personal milestones of strangers, the moment I found out Bonney was married to Turshen, I thought, “Well, she’s gotta be cool,” and promptly followed her on Instagram. I’ve been intrigued ever since.
On Monday, September 24, Turshen visited Literati to talk about her latest cookbook, Now & Again: Go-To Recipes Inspired Menus + Endless Ideas for Reinventing Leftovers. She was in conversation with chef Kate Williams from Lady of the House restaurant in Detroit and journalist Ashley Woods.
After the audience settled in the space, reinitiating us to fall time in Michigan as we figured out where best to lay our umbrellas, Woods began the talk by asking Turshen and Williams how food and community became entwined for each them.
It’s not easy to say goodbye to an old friend. Maybe that’s why the great Joan Baez is calling her final tour, which came to the Michigan Theater on Tuesday, “Fare Thee Well.”
If indeed that’s the last time Ann Arbor gets to see Baez in person, she left us with an evening full of terrific memories. She set a relaxed, friendly tone from the very start, when she strolled out on stage alone, with no introduction at all, drawing the first of several standing ovations.
Any apprehension about how she might sound at age 77 disappeared as soon as she began to sing. If her voice doesn’t quite have the crystalline edge it once did, it’s still a gorgeous, powerful force, full of warmth and depth. Accompanying herself on guitar, she fleshed out the sound with various combinations of a backup singer, a multi-instrumentalist, and a percussionist (who happens to be her son, Gabe).
Baez has a fine new album out, Whistle Down the Wind, and she played several songs from it Tuesday. The bulk of the show, however, leaned toward old favorites, to the delight of the sellout crowd.
You can’t typecast Jeff Daniels. He’s played someone dumb (and dumber), a highly intelligent newsman, and lots of other characters with assorted traits, interests, and careers.
He’s got roots in the theater, and he’s equally comfortable on the big and little screen. He also writes and performs folk songs. As founder of The Purple Rose Theatre in Chelsea, he’s produced plays.
Jeff Daniels writes plays, too.
Of course, you can’t expect Daniels to limit himself to one style or subject. His 17 plays, all presented at the Rose, include a searing look at friendships between people with different incomes that mixed realism with farcical elements, a political drama that showed the way the tragic situation in Flint has impacted relationships, and a comedy about hunting set in the U.P. He’s written in the style of Samuel Beckett and Neil Simon with equal ease.
And the Daniels play that’s on the boards at the Purple Rose now, Diva Royale, is a lively slapstick comedy that feels very much like a musical comedy. The opening night audience responded to the musicality of the show, clapping after scenes the way spectators at musicals usually clap after musical numbers.
Myerscough is a visual artist in London who "explores the theme of 'belonging' in her work, using it to transform public spaces by creating welcoming, engaging experiences for everyone." The Stamps website photo of Myerscough’s structure Temple of Agape, built in partnership with Luke Morgan for London's 2014 Festival of Love, is covered with vibrant hues, visually busy interacting shapes, and positive words that combine for a psychedelic carnival vibe.
At the Michigan, Myerscough took the stage wearing all black and white. Her shirt reminded me of Picasso’s stripes. Her jumpsuit made me wish I looked better in them. Her sheer, long, flowing top layer completed the look. And then there was a surprise, a pop of color: bright Chuck Taylor sneakers.
“Morag’s visual vocabulary is inclusive by nature.” --Elaine Sims