Playwright Halley Feiffer had the clever idea of taking Anton Chekhov’s play Three Sisters and kicking it into the 21st century.
It’s one of those creations that begins with the question, “What if?” What if Chekhov were writing his play today using raw contemporary language with lots of profanity, slang, catchphrases, snarky attitudes, and even a few funny jokes backed by some hot early 2000s music?
The result is Moscow Moscow Moscow Moscow Moscow Moscow being presented at the University of Michigan’s Arthur Miller Theatre. Director Ryan Dobrin takes the idea a bit further in his production at the university by setting Chekhov’s characters “in a more diverse context,” according to a program note. The result is a comic mashup that draws, again according to the program notes, on the affectations of Paris Hilton and the Kardashians as well as on gender-identity issues.
The playbill also comes with a warning that the play may be “upsetting, offensive, or triggering for some audience members” and advises caution. Some of those who might respond that way are fans of Chekhov who might not appreciate what Feiffer has done to his play.
Thomas Wright “Fats” Waller was only 39 years old when he died of pneumonia but in that short life the effervescent showman, composer, singer, master pianist, and amiable comic packed in a lot of life.
The Broadway hit Ain’t Misbehavin’, conceived by Richard Maltby Jr. and Murray Horowitz, is not a musical biography of Waller but rather an infectious presentation of his music and a rollicking recreation of the pianist's uptown swing.
The Encore Musical Theatre Company is taking its audience back to a swank Harlem club to experience that other time and place. Director and choreographer Gerry McIntyre presents a polished, sassy, and moving production that swings from happy-go-lucky and downright sexy to a bit more reflective tone. That arc gives a portrait of Waller that explains his life more than a lecture ever could.
Can a great man also be a good man? What do the words great and good mean?
This is the theme of Mark St. Germain’s play Relativity, which explores the character of physicist Albert Einstein, who has become the very definition of genius.
Germain takes a troubling decision by Einstein and its impact on his professional and personal life to explore the complex balances and compromises that people make to follow their passions, in Einstein’s case a passion that would change forever the way we look at the universe.
Carla Milarch directs the Theatre Nova production of Relativity, which strikes a complex balance of its own, weighing gentle comedy against serious inquiry into the compromises Einstein made to follow his genius.
In addition to presenting classic American musicals and lively cabaret shows, The Encore Theatre in Dexter is also doing its part to expand the musical theater repertoire with premiere presentations of new musicals.
This month, Encore is presenting the world premiere of A Thousand Faces, a musical bio on the life of silent-screen star Lon Chaney.
As with any new theatrical production, the first presentation is an opportunity for the creative team to make adjustments and test run the audience's response to the new material. The book writer, the composer, the lyricist, and the director will tweak this show as the weeks go on.
They’re off to a good start but audiences might be a bit surprised by the show’s approach to telling the Chaney family story.
Along with the great silent comedy stars, Lon Chaney's name and films still resonate with audiences. He was the man of a thousand faces. He was an actor who hid himself in characters that were both physically and psychologically damaged. Chaney was famous for his performances in The Hunchback of Notre Dame, The Phantom of the Opera, The Unholy Three, Laugh, Clown, and He Who Gets Slapped. He did his own shock-producing makeup and twisted his face and body into a dozen different contortions. But he could also show his own face and give a tough performance in the contemporary war drama Tell It to the Marines.
After a scene of Chaney adjusting his Quasimodo makeup and trying on tortured facial expressions, A Thousand Faces takes us back to Chaney’s youth, because this isn’t a story about making horror movies, it’s about family.
Filmmaker, enthusiast, advocate, meticulous curator, promoter, free spirit and nurturing mother of avant garde film.
Those are the words used to describe Sally Dixon in Brigid Maher’s documentary Experimental Curator: The Sally Dixon Story.
Dixon’s role as filmmaker, advocate, and curator of films at the Carnegie Museum made her a key if less-known figure in the emerging experimental avant-garde film movement. Her work was crucial to gaining recognition and financial backing for such key figures as Jonas Mekas, Stan Brakhage, Bruce Baillie, James Broughton, and Kenneth Anger. She was also an advocate for women filmmakers such as Carolee Schneemann. Women filmmakers often found it difficult to gain acceptance in the male-dominated field. Dixon opened doors for them.
The Ann Arbor Film Festival will screen Maher’s feature documentary at 1 p.m. Sunday, March 27, in the main auditorium of the Michigan Theater. The documentary will be followed by four short experimental films: Fist Fight by Robert Breer, Valentin de las Sierras by Bruce Baillie, Invocation of My Demon Brother by Kenneth Anger and Take Off by Guvnor Nelson.
The Ann Arbor Film Festival has long been a major home for experimental film. This documentary should be just the ticket for those seeking a little history on a movement that had a whole different view of what movies could be about than Hollywood.
Stefan Pavlovic’s Looking for Horses begins in a deep mist and heavy clouds. The image, shot with a hand-held camera, shifts wildly, moving from choppy lake waters to a menacing sky of black clouds.
This sets the tone for a film about a rich, emotional friendship between the young filmmaker Pavlovic and a reclusive Bosnian fisherman.
Pavlovic is a filmmaker based in Amsterdam. He returned to his family’s native home of Bosnia where he met the fisherman, Zdravko, who has been living alone on a small island for 18 years. He rarely goes into the nearby town of Orah. He has set up living space in an abandoned chapel over the last five years, having lived in small shacks around the island.
Zdravko was a soldier in the Bosnian war. He lost his hearing. Later he lost sight in one eye in an accident. His face is deeply wrinkled. He smokes cigarette after cigarette. He’s gruff but welcomes the attention of the young filmmaker, touched by the idea that he would be a worthy topic for a documentary.
As part of its Black History Month celebration, musical theater met Kahil El’Zabar & Co.'s jazz in perfect harmony at Encore
The “great American songbook” and jazz have always had a strong relationship. Popular songs have been an important source for jazz improvisation from the very beginning and jazz has influenced popular music composers to adapt dynamic rhythms, blue notes, and the uptempo style of the emerging jazz players of the 1920s.
The Encore Theater is celebrating Black heritage with an exciting pair of musical reviews this month. On February 18, a program called Modern Jazz Meets Musical Theater made a strong case that the popular music of the golden age from the 1920s to the 1950s was a collaboration of a diverse group of performers and composers that is still rich and vibrant today. Many of those who created the American Songbook were first-generation immigrants from Europe and Black Americans who found a common voice.
The man making that case is, as the Encore program says, the legendary Kahil El’Zabar, an inspired percussionist, driving band leader, and wise teacher. El‘Zabar and his Ethnic Heritage Ensemble joined forces with four superb singers to give us a sampling of show tunes, blues, and pop standards in a smokey setting on the Encore stage. Each song segued from vocalist and band to rich, lively, thought-provoking jazz improvisations on the music and then rounded back to the singers.
Giving 'Em Hell: Fred Grandy captures the complex character of Harry Truman in a one-man play at Encore
Fred Grandy served four terms as a Republican congressman from Iowa. Grandy is an actor who quit his role as Gopher Smith on the popular television series Love Boat to enter the partisan and always contentious world of politics (and sometimes governance?).
In these particularly partisan times, Grandy is touring in the one-man play Give ‘Em Hell Harry as that most Democrat of presidents Harry Truman.
Encore Theater is taking a break from musicals to present this surprisingly relevant look back at Truman’s crucial and politically charged presidency in his own words.
Truman didn’t seek the presidency, it was thrust upon him. He had been plucked from his seat as a senator from Missouri to run with Franklin Delano Roosevelt, who was seeking his fourth term.
When Roosevelt died just four months into his new term, Truman took office while the United States was still at war. He had never been taken into Roosevelt’s confidence and he hadn’t been informed that an atomic bomb had been developed, and the decision on whether to use it or not fell on him.
Truman had a reputation as a blunt and honest man. As a senator, he led a committee to investigate waste and corruption in the war effort. He even challenged his president on several issues. But he was dedicated to the New Deal and Roosevelt’s transformative presidency. He was not FDR, but he brought a common sense, down-to-earth approach to an overwhelming position.
Harry Truman never minced words. He was blunt, uncensored, and proudly partisan. But this people’s president was also a good storyteller, slyly humorous, and tried with some success to work with those on the other side of the partisan divide, while also zinging them and their conservative views.
‘Tis the season to make jolly. ‘Tis also the season to be silly.
British music halls celebrate Christmastime with pantos (short for pantomime, but not really about mimes). A panto is a play based on a fairy tale that provides a framework for slapstick, satire, song parodies, dancing, clowning, a touch of bawdiness and lots of good cheer to see out the year.
Several years ago, Carla Milarch, founding director of Theatre Nova, and R. MacKenzie Lewis introduced the panto to Ann Arbor with An Almost British Christmas. Every Christmas season since (except for last year, of course) Nova has presented a new panto. This year Nova is reviving the original show, more or less, with some topical humor to fit this particular year.
But it’s really the silliness that counts.
William Shakespeare’s A Midsummer Night’s Dream is one of the Bard’s most popular comedies and one of the most accessible for modern audiences.
And why not?
It has a little bit of everything for everybody.
There’s 16th-century style rom-com, fairies with magic spells and love potions, and a hilarious troupe of amateur thespians who are preparing a show for a royal wedding.
The University of Michigan Department of Musical Theatre will present a production of A Midsummer Night’s Dream Dec. 2-5 in the Arthur Miller Theater, directed by Vincent Cardinal.
“Why I think it’s popular is that at its core it’s about love and about our impulses to find love and to find people to love and how complicated that is and how it works in the larger structure of our society as well as our personal lives,” Cardinal said. “So it’s examining issues that are core to what it is to be a human being.”