I once spent a summer reading just about everything Albert Camus wrote. Not exactly beach reading, I know -- I jokingly referred to it as “my crazy summer” -- but I’d been hired to write the preface of a book about the French writer’s work, so I dove in.
I hadn’t counted Camus' seldom-produced 1948 play L’Etat de siège (State of Siege) among my favorites of his writings, but I was intrigued that Théâtre de la Ville was staging it. Having seen previous Théâtre de la Ville productions courtesy of University Musical Society (UMS), including Ionesco’s Rhinoceros in 2012 and Pirandello’s Six Characters in Search of an Author in 2014, I was hopeful the Parisian company's past lavish renderings of absurdist classics would nonetheless find a way make Siege sing.
And yes, Theatre de la Ville’s take on Siege at the Power Center on Friday and Saturday looked slick and offered some truly inspired moments of stagecraft, but Camus’ heavy-handed political allegory still ended up feeling pretty leaden.
As Paul Simon once noted, “It’s every generation throws a hero up the pop charts.” Sadly, many of them do not have as long and productive a career as Paul Simon. Many of them are “one hit wonders” but their single contribution to the charts linger on.
The University of Michigan Musical Theatre Department is presenting the world premiere of One Hit Wonder, an energetic musical that gives the university students a chance to workshop an original musical that is tailor-made for a young cast and audience on one hand and for a nostalgic older audience with a taste for 1980s-style pop music .
I am one of the people who couldn’t get enough of political podcasts during the 2016 presidential election. That is how I found my way to the podcast Keepin’ It 1600, hosted by Washington insiders Jon Favreau, Tommy Vietor, Jon Lovett, and Daniel Pfeiffer.
In January 2017, the hosts of that show started Pod Save America, a show about current United States politics and it impacts on the American people as a part of Crooked Media, their network that now hosts five podcasts and written work from several contributors. Through their work, they hope to inform people from their progressive point of view about the current political landscape while entertaining their audience and inspiring them to become personally involved in the political process.
Based on the crowd outside of the Michigan Theater on Friday, Oct. 6, the Pod Save America team inspired people to leave the comfort of their homes to see the foursome in action.
The only real carnage in God of Carnage happens entirely offstage, but the knock-down, drag-out battle of social mores that takes place more than earns the play its comically dramatic title. Yasmina Reza's 2009 Tony Award-winning play, which runs through Dec. 16 at the Purple Rose Theatre, is 70 minutes of one-act, real-time comic chaos as two married couples attempt to reconcile after their sons get into a playground fight.
In 2015, I pronounced Into the Woods to be Encore Theatre’s strongest overall production since the Dexter company opened its doors in 2009.
Well, move over, Into the Woods. There’s a new Sondheim show in town, and when it opened on Friday night, Sweeney Todd: The Demon Barber of Fleet Street quickly established itself as the best thing yet to happen on Encore’s modest, black-box stage.
Brian Cox returned to creating theater about five years ago when he began writing his first full-length play, Clutter, based on one of his short stories. Since then, he has written multiple one-act plays, directed, produced, and devised many more shows and storytelling nights, and started his own theater company, PencilPoint Theatreworks in Ypsilanti. He’s an accomplished director, producer, and artistic director, and earlier this year Cox won Encore Theatre's Wilde Award for Best New Script with Clutter.
After offhandedly mentioning this during the interview, Cox pauses, glancing down and blushing slightly. “But I don’t act. No acting.”
So what is Cox’s newest project? On Sept. 28 he’s opening Ypsi THRIVE, a three-day, new-play festival at Riverside Arts Center that features seven short plays.
If you don’t live in New York City or London, and perhaps don’t have the money to go to The Metropolitan Opera or the National Theatre on a regular basis, you might feel like you’re missing out on some amazing arts events.
But HD broadcasts of productions from these venues to movie theatres around the world are a way for people all around the world to see legendary works like La Bohéme, Hamlet, Everyman,Der Rosenkavalier, and more, performed by legendary performers such as Helen Mirren, Benedict Cumberbatch, Ralph Fiennes, Plácido Domingo, Vittorio Grigolo, and Renée Fleming. NT Live has been broadcasting shows from the National and other theaters in London to movie theaters since 2009, and The Met: Live in HD has been broadcasting operas since 2006.
He drew support from working class people by appealing to their fears and their prejudices in a time of economic strife. He went into angry rants blaming minorities for all the country’s problems. He encouraged his supporters at rallies to punch out those who protested against him. He came to power in an unusual though legal way, while claiming the support of the nation. He pushed a philosophy of racial and ethnic superiority. He told the crowds that “I and I alone can make this nation great again.”
He was Adolph Hitler.
There’s a moment in Duncan Macmillan’s play Every Brilliant Thing -- a University Musical Society presentation of the U.K.’s Paines Plough and Pentabus Theatre Company production -- that straight-up gave me chills.
For actor/comedian Jonny Donahoe, playing the son of a woman struggling mightily with depression, briefly discusses how suicide tends to beget more suicide, and that the year after Marilyn Monroe killed herself, the rate of suicide in the U.S. rose by 12 percent.
Why did this pronouncement split the air in the Arthur Miller Theatre like a lightning bolt?
With this prayer, the dance begins:
Angikam bhuvanam yasya Vachikam sarva vangmayam Aharyam chandra taradi Tam numah satvikam sivam.
-- "We bow to the Sathvikam (pure) Shiva whose Aangikam (body) is the world, whose Vaachikam (speech) is the Universal Language and whose Aaharyam (ornaments) are the moon and the stars."
As powerful drumbeats create primal, pulsating energy, Shiva Nataraja, the Hindu God of Dance, comes to life. This dance of Shiva symbolizes the wondrous interplay of dynamic and static energies, symbolizing the five cosmic functions of creation, preservation, destruction, illusion, and emancipation.
When we at Akshara decided to produce the India-inspired, month-long, multi-arts Rasa Festival, a classical dance segment was planned as a key event because it occupies a pre-eminent position in the arts landscape of India. Rasa Dance Festival runs September 23 and 24 at Riverside Arts Center in Ypsilanti. (As a prelude to the festival, we will present a performance at the Ann Arbor District Library on September 21.)