ARTS f The Michigan Daily Wednesday, March 25, 1987 Pogo7 NACO has a mission, professionally speaking B Rebecca C hungever been together is a week prior players. Approximately a third of By g to a concert, and during that week those are from Ann Arbor. The we've had close to twelve rehearsals other people are from all over tie The National Arts Chamber before concerts. Usually what we do country, schools like the Julliard Orchestra will be performing this is mail out the music...two months Conservatory, the Cleveland Insti - Sunday at 8 p.m., at Hill Audi - to one-and-a-half months before the tote.... torium. On the program is 'Over - program. Since we have a large D: What is the orchestra trying ture to Coriolan' (Op. 62) by Bee t- number of members from Ann to do? hoven, 'Piano Concerto No.2' (Op. Arbor, we have section rehearsals M: Eventually, what we're 83) by Brahms, 'Gymnopedies No. beforehand... trying to do is work the orchestra 1 and 3' by Satie and orchestrated D: This organization was formed into a position where it can sur - by Debussy, and 'Symphony in D' in Ann Arbor? See ORCHESTRA, Page 8 by Cherubim. The Daily spoke to Music Director and Conductor Kevin McMahon about the organization. Below are highlights of the conversation. Daily: How do you pull your performances together in eight rehearsals or less, particularly if you're a national organization? McMahon: The longest we've M: The organization was formed in 1982 in Wisconsin to perform a benefit concert for an ailing musical organization. The first concert was a success; we were actually able to donate an amount of money to that organization. D : What is the selection process? M: People are auditioned. For the Ann Arbor concert, we have 49 Theodore, Lettvin, 'U' Professor of Piano and Kevin McMahon, Music Director of the National Arts Chamber Orchestra, prepare for tonight's Hill concert. LAZE RGRAPHICS COPING U PRINTING BINDING U FORM$ alphifgraphios Printshops Of The Future Open 7 Days GRAND OPENING SPECIAL 663-6816 715 N. UNIVERSITY (2nd Floor) Located at: S. STATE & N. UNIVERSITY 'Street Smart' not very smart at all By John Shea Imagine, if you will, that you are a writer for a big magazine in New York. You have just prom - ised your editor a feature story on a day in the life of a New York pimp. Now imagine yourself walking alone on 42nd Street, at three in the morning. You're a Harvard graduate and wear oxford shirts. You are stuck. You can't go back to your editor empty-handed, or he'll fire you. You're getting no - where on the streets; you don't talk their language. So what do you do? Such is the inital premise of Street Smart, a film which follows Jonathan Fisher (Christopher Reeve) in this very dilemma. He has no leads and the deadline quick - ly approaches. But, as all good journalists do; Jonathan' gets his story. When the deadline arrives, he plops down on his editor's desk a piece entitled "Tyrone," the story of a pimp who believes world peace can be attained by "giving everyone a piece of (bleep) and letting them settle down." He also owns racks of fur coats and a condo in Hawaii. Jonathan's editor loves it, and "Tyrone" makes the cover of that month's issue. Jonathan becomes an instant celebrity, and a local television station wants him to do a regular series of investigative re - ports on the streets. Life is good. The problem is, he made the story up. This creates unexpected prob - lems, ethics aside. There is a pimp in New York, Fast Black (Morgan Freeman), who is being charged with murder at the same time the "Tyrone" story is published. Fast Black talks to Jonathan and sticks close to him, hoping the DA will believe he is "Tyrone." Fast Black -gives the reporter a tour of the streets. Not long after, the DA subpeonas Jonathan for his notes on the "Tyrone" story, of which he has none. The plot thickens. Director Jerry Schatzberg never convinces us that what he is showing on the screen is real. Every scene shot on the street is too self-conscious and awkward. Schatzberg struggles so hard to be authentic, we can almost sense him behind the camera, sweating, asking everyone around him if this looks right. It doesn't. Street Smart wants to be two things: an intelligent commentary on the ethics of jounalism and an insider's view on the lives of those who make their living after the sun goes down. This should be both a very compelling and frightening story, but it is neither. Screenwriter David Freeman overextends himself, and instead of having us on the edge of our seats, he has us sitting back, glaring at the screen, trying to figure out what in God's name is going on. And the last five minutes, in which Freeman resorts to a predictable wham-bam-thank you ma'am ending is unforgivable. I question the casting of Reeve as Fisher. Without his red cape and red boots, Reeve is just so-so. His wears an impish grin throughout most of the movie, as if winking at the camera. It is both annoying and unbelievable. Reeve is simply not convincing. What stands out most in. Street Smart is the performance of Morgan Freeman as Fast Black. Freeman is the only credible element in the movie, almost making it worth seeing. He is a ball of intensity, always on the edge and ready to explode at any moment. Even when he appears calm, one can sense the growing tension and fear. Freeman is intimidating, and whenever he is on the screen, we forget about everything else. Street Smart is not necessarily a bad film, but I cannot recommend it. Too much is either missing or rings untrue. If you want to see a good film on the ethics of journalism, I recommend Absence of Malice. If you want to see the darker side of the New York City streets, see Fort Apache, The Bronx. In Street Smart, too many people wear oxford shirts. Be Our Guest at The University of Michigan-Dearborn Students in good academic standing are invited to take advantage of spring and summer by enrolling in course- work at our easily accessible campus. We offer University of Michigan credit through a full array of day and evening classes. Spring/Summer Term Registration Term Length Spring Half-Term Registration Term Length Summer Half-Term Registration Term Length See your registrar or call (313) 593-5100 for a gue: information. 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