Ann Arbor Art Center’s current exhibition, Written Into Rock, explores imagery associated with the Earth, geology, and human impact on the environment. Curated by Gina Iacobelli, the exhibition features the works of seven artists dispersed throughout the gallery instead of placing works by each artist together.
The exhibition announcement states that the show “is an exploration of the ways in which humans have altered the natural landscape,” and was in part initially inspired by writings of Donna Haraway and Heather Davis, who explore ideas relating to the Anthropocene era, a “new geologic area defined by human’s mark on the geologic record.”
The bare-bones thrust stage in a playroom at the Children’s Creative Center is the perfect setting for the Brass Tacks Ensemble’s production of Patrick Barlow’s playful The 39 Steps.
Barlow turns Alfred Hitchcock’s famous thriller into an imaginative comic romp. While staying true to Hitchcock’s script, the play lets four actors engage is theatrical play as giddy as many days of child’s play at the Creative Center.
When I got to the gig there were around 40 people milling about, mostly men in their 20s and 30s. As the night went on, more people arrived and the room filled up until we all standing shoulder to shoulder.
On April 7, over 500 of the University of Michigan’s Asian Pacific Islander America (APIA) students gathered in the Lydia Mendelssohn Theatre for the 23rd annual Generation APA Cultural Show. Organized by the student-run coalition United Asian American Organizations (UAAO), GenAPA is a pan-Asian cultural show that features traditional, modern, and fusion performances of different Asian backgrounds to celebrate the dual diversity and unity within the Asian diaspora.
This was my fourth year attending and the second year performing as a part of Seoul Juice, a Korean-American singing and instrumental cover group, alongside performances like Vietnamese and Chinese fan dances, Korean traditional percussion and pop, Indian classical dance and song, Mongolian instruments, spoken word, hip-hop dancing, and more.
U-M's University Philharmonia Orchestra wrapped up its 2017-2018 schedule on April 17 with a sonic Spanish tapas along with an exploration of a once-controversial French piece steeped in Germanic influences.
This was my first time in the magnificent Hill Auditorium. While I was reading the program before most of the orchestra came out, I heard a deep, stirring, bellow of a note from the stage. As a bass clarinetist myself, I recognized it as one of the lowest notes that can be played on the instrument. For me, the sound signified that it was going to be an enjoyable night.
"Self Portrait with the Ashes of My Baby Blanket":
Ashes because she set fire to it in the burn barrel.
Leave her alone, with your newfangledness.
I was a clingy, fearful thumb-sucker, and she knew I needed reinventing.
She tore it away and I screamed and she burned it.
Begone, soft, pale yellow. She knew if I kept it I’d stumble over it
The rest of my life, how far I would travel without it,
And how many strange birds I would trap
in the story of its burning.
At a Literati reading this past Friday, poet and professor Laura Kasischke introduced Diane Seuss by reading one of her poems, “Self Portrait with the Ashes of my Baby Blanket.” The poem centers on Seuss’ mother, who is an important figure in her new book of poems, Still Life with Two Dead Peacocks and a Girl. The first and last poem, "I Have Lived My Whole Life in a Painting Called Paradise” and “I Climbed Out of the Painting Called Paradise,” introduce the reader to a heavenly, creative world that Seuss is able to inhabit but one that her mother, who is not a writer, cannot. Seuss “leaves” the painting to rejoin her family at the end of the book.
Fittingly, Rajiv Joseph’s Gruesome Playground Injuries, now being staged by Kickshaw Theatre at Ann Arbor’s trustArt Studios, starts in a parochial school’s infirmary, where a deep, lasting friendship takes root between a girl and a boy who recognize in each other a common compulsion toward self-destruction.
The boy, Doug (Michael Lopetrone), is a reckless, thrill-seeking daredevil, while the girl, Kayleen (Dani Cochrane), suffers from stomach problems and later develops a serious cutting habit. The 80-minute play shows glimpses of these two characters at several different ages, between 8 and 38, but it jumps around in time, inviting us to piece together the puzzle of Doug and Kayleen’s intense connection by shifting from childhood to adulthood and back again.
Abdullah Ibrahim's concert at the Michigan Theater on April 13 began like all his shows: the pianist alone on stage with his instrument, playing a meditative piece filled with sustained chords, floating harmonies, and a sound that slipped naturally from Bach to blues. Then Cleave Guyton (flute) and Noah Jackson (cello) joined Ibrahim for the chamber-jazz piece "Dream Time" from 2014's Mukashi.
It was in these solo and trio moments that listeners could best appreciate the 83-year-old Ibrahim's piano playing -- because otherwise, he didn't play much at all.
This weekend, the University of Michigan Gilbert and Sullivan Society (UMGASS) stages Iolanthe, bringing Thirsty Fairies, Peer Pressure, and one long strange trip of a dream sequence to the Mendelssohn Theater. Iolanthe is the seventh of Gilbert & Sullivan's 14 comic operettas, steeped in the class divisions and political satire of the day, with a hearty dollop of supernatural weirdness.
Directed by Greg Hassold and featuring an extremely solid pit orchestra led by Thomas Burton, this wonderfully busy production has a lot going on in every scene and is just dripping with the talent of fresh-faced leads, seasoned supporting characters, and a chorus that is plainly having a wonderful time.
Michigan Medicine’s Gifts of Art program regularly supports artists while working to “revitalize and enrich lives” of patients and visitors. The latest Gifts of Art series on display in various parts of University Hospital is available to view through June 10. The eight small exhibits in Gifts of Art's nine galleries feature the works of artists Tina West, Richard Light, John Dempsey, Mary Brodbeck, Aimee Lee, Re Kielar, f8collective, and WCC faculty, staff, and students.