Sequels aren’t exactly rare or novel. As a creative enterprise, they’re safer than a wholly original property because they thread a narrative needle, providing readers/viewers with something both familiar and unknown—a new story featuring characters and a world we already “get,” no exposition necessary.

More recently, of course, we’ve witnessed the rise of the prequel (Wicked, anyone? The Joker? Cruella?), which offers the same artistic advantages but projects backward in time rather than forward.

With all this in mind, allow me pause to sing the praises of prolific, Michigan-native playwright Joseph Zettelmaier (now based in Florida) for breathing new air into an old form with his latest play, The Men of Sherwood, now having its world premiere via Penny Seats Theatre Company through December 8.

While most sequels lean in hard on a story’s central character, depending on their allure to draw fans back, Zettelmaier instead kills off a beloved, charismatic hero and asks: What happens to a story’s minor characters, the followers, when the nucleus that long held them together perishes? Can a body, without its beating heart, function? (And even if it can, should it?)

U-M basketball fans will get to hear perspectives about the team’s past and its present at 6:30 pm Monday at Literati Bookstore, when sports writer Mike Rosenbaum will talk about his book University of Michigan Basketball, 1960-1989: From Cazzie Russell to the NCAA Title alongside past U-M players Tom Staton and Antoine Joubert, and current U-M basketball play-by-play radio personality Brian Boesch.

“I’m leading the event,” said Rosenbaum, who grew up in Oak Park, and graduated from U-M with a communications degree in 1980. “So I’ll probably go over a few stories that [Staton and Joubert] talked about for the book … and then we’ll probably have a discussion about this year’s team. Brian’s close to the team. He’s interviewed all the coaches, and he can give us some insight on what’s going on … and talk about what to expect with the new coach [Dusty May].”

Staton and Joubert are just two of the more than 40 people Rosenbaum interviewed for his book, which has been years in the making.

I don’t have a ton of specific fears, but if pressed to name a few, I’d go with snakes, climate change, overdrafting, mass shootings, and the epically baffling big novels of James Joyce.

So kudos to the University Musical Society (UMS) for helping me confront that last fear this past Sunday, via the Elevator Repair Service’s stage adaptation of Ulysses, which was at the Power Center in Ann Arbor on October 19-20.

The much-studied, fever-dream doorstop of a novel—clocking in at nearly 800 pages—unfolds almost entirely within the confines of June 16th, 1904 (reportedly the date of Joyce’s first sexual encounter with future wife, Nora). Since the book debuted in 1922, Joyce’s life and work have been celebrated annually on June 16th, a day called Bloomsday, named for the character at the center of Ulysses, ad man Leopold Bloom.

When a stage musical’s inspired by a campy, 1990s tabloid story about a half-human, half-bat boy who’s discovered in a West Virginia cave—I mean, you just go in expecting a weird show, right?

But nothing can truly prepare you for the level of weird achieved by Bat Boy, staged October 10-20 by U-M’s musical theatre department at the Encore Theatre in Dexter.

With music and lyrics by Laurence O’Keefe, and a book by Keythe Farley and Brian Flemming, Bat Boy follows the titular character as he’s housed, and socialized by, a local veterinarian’s family. Buttoned-up wife and mother Meredith Parker (Aquila Sol) is the first to emotionally connect with Bat Boy (Aaron Syi), naming him Edgar and teaching him to speak. Teen daughter Shelley Parker (Stephanie Reuning-Scherer) is initially disgusted by Edgar but comes to love him, too, while her father, Dr. Parker (Jamie Martin Mann), jealously watches his emotionally distant wife lavish maternal love upon Edgar. 

The show, particularly the first act, has been somewhat streamlined (a good thing) since I first saw it many years ago, but its high body count, black tragicomedy core—think Heathers crossed with a bewildering nature documentary—remains intact. 

It seems a too-painful irony that U-M art professor Rebekah Modrak while working on the new book Trouble in Censorville: The Far Right’s Assault on Public Education and the Teachers Who Are Fighting Back had to work around censorship laws.

Modrak’s co-editor, Nadine M. Kalin, is on faculty at the University of North Texas, “and in the middle of working on the project, Texas created a new law saying that you can’t essentially do work around diversity,” Modrak explained. “So we, at the University of Michigan, had to create an email address for [Kalin] and sponsor her as an academic so she could use our email address as she worked on the project, to create some distance for herself and some protections. And I thought, wow, maybe this is the future of the country, where we have blue states, where work like this is being done, and we protect academic refugees from red states who are being censored.”

Even with this awkward workaround in place, the pair managed to gather oral histories from 14 public school educators who’d been harassed (or outright dismissed) in recent years because of, among other reasons, their gender presentation, or the topics they taught in class, or the books they offered on their shelves.

“The impetus for the book was that they wanted to be able to tell their own story because their stories were so—the way it was being told by parents or outsiders in the community, or by the administration, was such a distortion from the truth as they understood it,” said Modrak. “So they wanted to be able to tell that. A few of the teachers did go to the media in order to try to get that story out and were punished further for it.”

Remember when voting was fun?

Frankly, I didn’t, either—until I settled into my Power Center seat on Wednesday night to see Belgian theater company Ontroerend Goed’s Fight Night, presented by the University Musical Society.

Before the show, in the lobby, ushers distributed tiny digital voting machines (attached to neckstraps) to each audience member, and the first two people we saw on stage were two tech guys who man laptops that report, on two raised screens, vote tallies throughout the evening.

And there were many.

But to warm us up, wry emcee (and Fight Night co-writer) Angelo Tijssens, dressed in a neutral plaid suit, cajoled us into participating in some basic surveys, both to get us comfortable working the devices and to provide crucial intel to the evening’s five “candidates.”

For what office, exactly? It’s never clear, and it doesn’t matter. Pretty immediately, we’re asked to choose a candidate with no information. By default, then, we must select our initial champion by way of our own racial, gender, and body/age biases, or by our mindful resistance to those biases.

See? Right from the get-go, things get tricky.

Like many versions of the American Dream, the “pack your bags and move to New York City to become a star” variety is profoundly hard to achieve—and Encore Theatre’s world premiere production of the musical New World Comin’ takes those challenges seriously.

Written by Dayle Ann Hunt, and set in the turbulent late '60s and early '70s, New World Comin’ focuses on a trio of young women who decide to leave Moosetown, Minnesota, to compete in a music contest in New York. Mickey (Charly Dannis), the leader of the Carlettes, helps out at her widowed dad’s (David Moan) gas station but feels extra motivated to try because her mom once left her own singing career behind to raise Mickey. Sharon (Kira Whitehead), tired of dealing with her small town’s racism, is the most anxious to leave and start a new chapter; and Bonnie Lou (Gabriella Palminteri) is torn, both because she genuinely likes Moosetown, and because Eddie (Shaun White), her mechanic boyfriend, is getting more serious about their relationship.

Drawing from the era’s catalog of pop songs (sung by Petula Clark, Cass Elliot, Lesley Gore, etc.), New World Comin’ chronicles the women’s complicated, hard journey not just from Moosetown to New York City, but from youth into self-directed adulthood.

This piece originally ran on January 8, 2024.

In my family, I’m the person who insists on setting apart the cans that can be returned for deposit, while my husband says, “What do you get, three dollars? Not worth it.”

Perhaps not. But different philosophies about money, at the macro and micro level, are all-too-common in marriage. I mean, there’s a reason that finances always make the list of “things couples fight most about,” right?

To address these differences, Scott Rick, a U-M Ross School of Business marketing professor, has a new book called Tightwads and Spendthrifts: Navigating the Money Minefield in Real Relationships. Billed as distinct from conventional self-help or personal finance books, the book instead uses behavioral science as scaffolding for a broader discussion of how spending plays into our sense of personal identity; why we’re sometimes attracted to people who are quite unlike ourselves (in terms of spending); and practical ways to work through money-related conflicts.

When you’ve created a new, twisty, sci-fi fictional podcast with a mystery at its center, how do you provide enough info to draw in listeners, but not so much that you spoil its surprises?

That was the question facing Michael Alan Herman and Josie Eli Herman, the Ann Arbor-based co-creators (and married couple) behind the just-launched podcast Silvertongues.

While emphasizing the adventure-blockbuster vibe of the show, Michael explained, “It’s about two people who discover a paranormal conspiracy on this tropical island, and that conspiracy blurs the lines between truth and lies.”

“A big theme in the show is this idea of emotional homelessness,” Josie said. “This idea that you don’t even feel at home in yourself. … That’s just something, post-pandemic, we’ve noticed is, a lot of people … having this feeling of, ‘I don’t know what to do with my life, or who I am.’ … That’s something that the characters feel in the show, and there’s a supernatural reason for that, but I think, at a human level, a lot of people can relate to that.”

You’d be hard-pressed to think of a more fun, entertaining way to support Ukraine than to see Odesa-based, klezmer /“gangster folk” band Kommuna Lux play at Saline’s Stony Lake Brewing Co. as part of the monthly Acoustic Routes concerts series on July 27.

“Sometimes opportunities just fall into your lap,” said concert series founder Jim Cain, noting the band reached out to him about performing.

“In the 10-plus years I’ve been doing this series in Saline, word has gotten around about us across the country and internationally. We’ve had bands from Northern Ireland, Canada, England, Scotland—the music community’s so tight, especially bands who tour a lot, that we can punch above our weight class. Yes, the venue’s a brewery, but there’s a listening-room vibe, and one hundred percent of the ticket proceeds go to the artists.”

That last point is often a big selling point for Acoustic Routes, since, as Cain notes, by the time touring bands pay for hotels, gas, and food, there’s often little money left.

But in the case of Kommuna Lux—a group of seven classically trained musicians who blend vocals with clarinet, accordion, trumpet, trombone, acoustic guitar, and percussion—its current U.S. tour is primarily aimed at raising funds for its war-torn home country.

“The needs of the people [in Ukraine], the scale of it, is hard for us to really comprehend,” said Cain. “One of the things that’s fascinating to me is the diaspora. Here in Michigan, I’ve had Ukrainian people reach out, and the Jewish community as well, offering to help spread the word about the show.”