Welcome to [art]seen!

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Our [art]seen writers cohort is comprised of University of Michigan students who review arts events on and near their campuses, sharing their thoughts and experiences on live music, film screenings, dance performances, theatre productions and art exhibitions.  Take a look back at some of our most memorable reviews of arts events this past year by clicking on the Year in Review(s) 2023 tag. See what our bloggers went to and read what they thought!

Editorial note:  [art]seen is designed to provide a space for student writers to express their opinions about events they’ve attended, with editorial independence. This forum is administered by the university’s Arts Initiative to foster a robust public conversation by students about the arts on and near campus. As such, the reviews published here do not and cannot reflect the thoughts and opinions of the Arts Initiative or the University of Michigan. 

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REVIEW: For the Love of (Or, the Roller Derby Play)

Maeve Ricks Leave a comment

As I settled into my seat at the Arthur Miller Theatre, little did I know that I was about to be whisked away into the adrenaline-pumping world of roller derby, a world I had never explored before. Enter the Rude Mechanicals and their electrifying production of For the Love of (or, the Roller Derby Play), which proved to be a dazzling spectacle that captivated from start to finish.

The Rude Mechanicals team assembled a seamless fusion of sets, costumes, hair, and lighting, each working harmoniously to transport this newbie into the vibrant, gritty world of roller derby. The dazzling costumes and imaginative set design were like characters themselves, imbued with the essence of the sport and its audacious players. 

And then there was the derby choreography, wow! The energetic sequences dazzled with their exhilarating pace, brilliantly captured the sport’s chaos and thrill while presumably being far safer than the real thing. The cast flew around the stage with infectious energy and precision, making the audience feel as if we’d dropped into a match on the fast track. 

Before the show, audience members were given team flags, stirring up competitive spirit and encouraging us to root for our favorite characters, which is a thrilling addition. This electrified the atmosphere, resulting in a lively yet respectful crowd. Imagine an audience fully engaged, mouths agape, eyes wide, and hearts pounding, not because of a stray Instagram scroll, but because the performance demanded it. 

However, every fierce jam (that’s a roller derby term I learned) has its slip-up, and here, the plot’s initial momentum veers off course. The script begins as a captivating ensemble piece, weaving the members’ stories like a taut team flag. Yet, it falters towards the end of act one, turning towards a singular storyline with a sapphic love triangle. This divulgence from the derby isn’t necessarily bad because sapphic love isn’t relevant to the story, but it dilutes the broader message of empowerment and unity within roller derby, which is what the story initially offers as you get to know the characters in the first act.

Despite this narrative detour, the cast delivered stellar performances. The actresses portraying Lizzie Lightning, Sophia Santos Ufkes, and Andrea the Vagiant, Sarah Josephina Hartmus, stood out, their portrayals embodying fierce athleticism and vulnerable emotion that provided nuanced reflections of the roller derby spirit, and their complicated characters. 

For the Love of (or, the Roller Derby Play) invited me into the intense, enthralling world of roller derby with Rude Mechanicals at the helm—definitely a production to be experienced. While I left with a major issue with the script, the overall excellence of the production remains undeniable. No matter the jam, in the rink, you’ll find your way through.

REVIEW: Our Oz

Maeve Ricks Leave a comment

When whispers of a new, boldly reimagined Our Oz started swirling around campus, I braced myself for the worst. Yet, much to my surprise, the production served up an experience that settled comfortably into the realm of average. Not horrible, not good, just a mixed bag of theatrical intrigue and hasty storytelling, leaving me more intrigued by what it could become than what it was at the moment.

Our Oz ambitiously sets out to explore the beloved tale of Dorothy and co. through a BIPOC and Queer lens, drawing inspiration from “The Wizard of Oz,” “The Wiz,” and even “Our Town.” It’s a potent concept that developed through a devising process between students and faculty, but it’s a concept that suffers from a script that was, frankly, as smooth as Toto’s sudden speaking role (which is to say not smooth whatsoever.) The story unfolded at a speed comparable to a twister through Kansas; this whirlwind pace left little room to develop its characters or embody the timely nuances it aimed for. But, hey, at least I got home early since there was no intermission.

Let’s talk about Toto because, apparently, he’s the narrator now, and an omniscient one with a surprising penchant for clunky, preachy lines that often feel like being hit over the head with a moral textbook. As a character, Toto had energy, but the writing left him scrambling to seamlessly bridge the tale. Remember, show, don’t tell, right?

Thankfully, the production did boast some shining elements. The projection and set design stood out magnificently; videography merged with live theatre in a way that felt fresh and immersive. Scenic Designer, Jungah Han, transformed the stage with a modern yellow brick road, inviting audiences into an Oz that brimmed with modernity and innovation (a promise the script itself couldn’t quite live up to.)

The actors certainly gave it their all. The actor’s playing the four main friends (Dorothy, Scarecrow, Tin Woman, and the Lion) infused their roles with spirit and charisma, managing to breathe warmth and humor into a sometimes uneven narrative. The Lion, played by Jonas Annear, was especially heartwarming with their karaoke songs and dynamic performance, successfully playing timid and fierce throughout the show.

Overall, Our Oz is one of those productions you’re glad to have seen, if only to say you’ve experienced it. The show indeed requires some fine-tuning, perhaps a slower pace and a more refined script could uncover its potential. And who knows, in a few years, after some creative soul-searching and adjustments, I’d consider returning for another round, especially if the tickets were free.Here’s to wishing Our Oz a future as vibrant and visionary as the world it endeavors to conjure.

REVIEW: Disney’s Snow White

Sappy Leave a comment

In this 2025 live adaptation of Disney’s 1937 film Snow White, Rachel Zegler plays the part of Princess Snow White, a young woman who is mistreated by her evil stepmother, known as the Evil Queen. The Evil Queen is jealous of Snow White for her beauty and kind heart, and thus sends her outside the castle to be killed. However, Snow White escapes and goes on an adventure in which she meets seven dwarves and a group of thieves led by a young man named Jonathan, and eventually confronts the Queen herself.

One aspect that I admired about this film was Rachel Zegler’s musical performance. The emotion she puts into performing is captivating, as one can clearly tell she puts her heart and soul into singing to really bring Snow White’s character to life. Gal Gadot also does a good job portraying the evil queen. Her subtle facial expressions and movements really convince the audience of the queen’s evil nature.

Although this film had many endearing parts such as the cute forest animals that Snow White befriends and the characteristic catchy Disney songs, there were some aspects of the film that I thought were lacking. The overall pacing of the movie felt very inconsistent. Some scenes were drawn out and felt almost boring, while others felt choppy and rushed. There were some key moments that felt a lack of buildup in emotional intensity, leading to abrupt scene changes. However, this could be due to the director wanting to market the movie towards more younger audiences, and so they may have decided to cut out any scenes that would be too intense. I enjoyed how there were a couple instances in which the Seven Dwarves made jokes more catered to adults but were innocent enough that it could be included in a children’s movie.

I also noticed that the costumes on both Snow White and the Evil Queen were noticeably tacky and looked out of place from the film. They looked similar to the Halloween Costumes found in retail stores for children to wear. However, I realize that this is not that important to the overall plot of the film, and is just something that I noticed.

The film kept to the original in some parts but strayed from the original in others. For example, the seven dwarves and their iconic personalities were kept in, as well as the Evil Queen’s magic mirror and poison apple. However, they added the young thief Jonathan and his group of bandits as a replacement for Prince Charming. I thought that made a lot of sense to do because in the original, Prince Charming does not have much of a role in the film.

Although Snow White (2025) was not a tear-jerking, awe-inspiring film, it also was not terrible. The two main actresses did a phenomenal job and the movie still kept its feeling of having Disney magic. However, the film lacked a more deep and thoughtful plot and had an inconsistent flow to it, and so would likely be more enjoyed by young children and their families for a light-hearted movie night.



REVIEW: The Wild Robot

Sappy Leave a comment

Directed by Chris Sanders (best known for How to Train Your Dragon), The Wild Robot stands out for its gorgeous animation, rich worldbuilding, and a touching yet humorous storyline. It’s no surprise that Forbes ranked The Wild Robot among the top 10 best-reviewed computer-animated films of all time. While it isn’t packed with action or major plot twists, its heartfelt, compelling narrative draws the audience deeply into its world.

The Wild Robot is an animated adaptation of Peter Brown’s novel. The story takes place on an island untouched by human life, yet thriving with animals and lush vegetation. The protagonist, Roz, is a service robot who crash-lands on the island after a shipwreck. Though the island’s animal inhabitants fear her, Roz’s programming makes her endlessly kind and selfless. Soon, Roz discovers and cares for an orphaned gosling, which marks the beginning of her emotional development that sheds her of her robotic nature.

I was surprised that this film was only 1 hour and 42 minutes long because the pacing felt natural and never rushed. That said, I personally found the opening a bit jarring. The film begins in a violently chaotic, almost overwhelming way that makes it hard to settle into the story right away. In retrospect, I understand why the filmmakers chose this approach—it fully showcases Roz’s sudden and disoriented arrival—but at the same time, it felt slightly off-putting. Thankfully, once the film found its rhythm, I became fully immersed. I grew incredibly attached to the characters and was deeply moved by their evolving relationships. In the latter half, I even found myself tearing up several times.

My favorite voice performance came from Pedro Pascal, who voiced Fink the fox. I was surprised to learn this was his first animated voice role—he sounded incredibly natural and perfectly captured the sly, sarcastic charm often associated with foxes. In fact, his portrayal reminded me of Nick Wilde, the clever trickster fox from Zootopia. Meanwhile, Kit Connor gave Brightbill, the gosling, a wonderfully youthful charm that embodied the innocence and curiosity of a child. Lupita Nyong’o’s performance as Roz became particularly powerful toward the end. As Roz’s emotional intelligence deepened, so did the rich texture of Nyong’o’s voice, further strengthening the robot’s compelling emotional arc. 

Overall, I would give The Wild Robot a solid 9/10. The only reason it doesn’t earn a perfect score is the rocky beginning, which personally made it a bit difficult to get into at first. Still, this is a touching and worthwhile film. It’s perfect for anyone looking to unwind from the stresses of daily life and enjoy a story rooted in nature, empathy, and personal growth.While its emotional depth resonates with adults, its clear storytelling and themes of kindness make it equally appealing for children.

REVIEW: A Minecraft Movie

Maeve Ricks Leave a comment

WARNING: SPOILERS AHEAD.

“CHICKEN JOCKEY!!!!!” A family with young children screams behind me. Filled with joy and elation, they celebrate the iconic moments of A Minecraft Movie starring Jack Black and Jason Momoa. When a mysterious portal pulls four misfits into the cubic world of Minecraft, they’ll soon discover that all they’ve imagined can come true with the help of a pickaxe, a crafting table, and a man named Steve.

Now, let’s be very clear: A Minecraft Movie isn’t great. It’s not even good. It’s bad… very bad. It’s so bad, you can’t stop watching. In fact, it’s so bad that I want to go back to my local Ann Arbor Cinemark and pay to see it again. And seeing movies nowadays is expensive! A Minecraft Movie may be a bad movie, but it’s a movie worth paying $20 dollars and then some to see.

I’d argue that it may be the new Rocky Horror Picture Show, or at least it should be. Every spring, gamers should come together to scream out signature movie phrases, dress up, and throw popcorn at the screen. If Rocky Horror fans can throw toast at the screen once a year, let the minecrafters do the same. (Don’t twist my words and be a jerk though while it’s still in theatres this season.)

The movie doesn’t have a lot of bad elements. It’s actually well-constructed, and incredibly designed, but, unfortunately, there are a few glaring issues that take all the attention away from the good things happening in this movie. (1) The ridiculous plot lines; the worst one that comes to mind is when a Minecraft villager enters the human realm and falls in love with Jennifer Coolidge. It’s a type of relationship that feels like it should be illegal, but then again, it’s fiction; thank goodness. (2) The female characters are poorly written. If A Minecraft Movie passes the Bechdel test, it does so on a technicality. The screenwriting team consists of 5 men, and it shows. The most prominent female characters, Natalie and Dawn, serve only to support Henry, the young boy who is the movie’s catalyst. It’s unfortunate because Minecraft has such a diverse player base, with over 40% of those players identifying as women. I wonder how the movie would be rated if it had taken the time to invest in a more complex, diverse cast of characters that better aligns with the diverse players who actually play the game. 

Still, there’s a lot to love about this movie: the random songs that come in at unexpected times (thank you, Jack Black), the playful, cubic animations, the deep-cut game references, and odes to the people that built Minecraft’s platform (for example Technoblade’s memoriam, and using Minecraft YouTubers as extras). It’s a great movie to see with your friends. You’ll laugh; you’ll cry; you might even pee your pants; or you might accidentally fall asleep like I did. No matter, it will always be a bad movie, and you’ll always have fun watching it.

So, purchase your overpriced and oversalted popcorn, slather it in butter, and eat alongside Jack Black as he makes his infamous lava chicken because he sure isn’t making a cake.

REVIEW: Titanic: The Musical

Maeve Ricks Leave a comment

Titanic: The Musical is a grand undertaking, promising an epic retelling of the historic disaster. And yet, this production found itself navigating turbulent waters and ultimately struggled to stay afloat. While the intent was ambitious, the execution left something to be desired, particularly in its lack of directorial boldness and inventive staging.

As the familiar story unfolded, one hoped to feel the looming dread and gravity of the sinking ship. Instead, the staging remained disappointingly static, failing to capture the urgency and chaos that the storyline demands. Titanic’s narrative should be a rising tide of tension and emotion, and yet it floundered around in shallow waters. A more dynamic approach to the physical space and movement could have transformed the experience into something truly riveting.

Another unfortunate iceberg in the path was the book itself, drowning under the weight of too many characters. The ensemble cast, while talented, had to fight for precious narrative space, leaving audiences adrift, unable to form meaningful connections or investment in their fates. With a plethora of characters vying for attention, the emotional impact of their plight was diluted, resulting in boredom and a noticeable uptick in glowing screens among the audience.

Sound mixing woes further muddled the waters. The orchestra’s impressive performance was marred by inadequate balance, often overwhelming the vocals. This left many lines and lyrics indecipherable, which is an ironic twist considering the music direction by Tyler Driskell managed to harness the beauty of the score so magnificently. Though the ensemble’s voices were heavenly, our ability to understand their words was sunk all the way down to Davy Jones’ locker.

Despite the muddled aspects, standout performances helped keep the ship from sinking entirely. Landon Wouters as Captain Smith, Nile Andah as Harold Bride, and Jason Mulay Koch as Frederick Barrett delivered compelling portrayals. Andah’s and Koch’s telegraph scene in act one, rich with tension and harmony, was a bright spot in the production and everyone’s phones were put away to witness.

While this titanic production (literally and metaphorically) struggled against its own dramaturgical and directorial currents, there were many shining moments for student performers. This production may have sank, but the performers managed to get on a lifeboat and survive. Hopefully, we will witness their talents navigating clearer waters in the future.