The Michigan Daily - Friday, April 14, 1989 - Page 9
Mi~kado
Continued from Page 8
preserving his skin. Although his
title in Titipu was Lord High Ex-
ecutioner, it should have been
Lord High Kiss-Up. Hedlesky was
a wonderful wimp, with a lovely,
gentle voice. Although he could
not match 'Pooley in range of fa-
cial expressions, he had a great
catalogue of his own.
One poignant moment that de-
served mention was Katisha's
"Alone and yet alive!" aria.
Delivered by the one "hideous"
woman in Titipu, this sad solo
was so beautifully delivered that it
almost brought tears of my eyes
- truly. It provided a surprising
contrast to the generally one-di-
mensional comic figures in the
show.
The costumes and set, as in
last semester's Utopia, Limited,
were creative, colorful, and pro-
fessionally done. Yum-Yum's and
the Mikado's costumes in
particular were spectacular and at-
tention-catching.
Mikado stands alone from
other G&S shows in that the
songs are more varied and original
than Pirates and Pinafore, which
are somewhat "form" musicals
despite consistently lovely music.
It is a charming show, as all G&S
shows tend to be. UMGASS has
outdone itself, and this show
should not be missed. I promise
an evening of frivolous laughs and
beautiful music.
THE MIKADO is playing at the
Lydia Mendelssohn Theatre for
two weekends. This weekend,
there are 8 p.m. performances on
Thursday, Friday, and Saturday,
with 2 p.m. matinees on both Sat-
urday and Sunday. Next week-
end, there are 8 p.m. perfor-
mances Thursday through Sat-
urday with a matinee at 2 p.m. on
Sunday. Tickets range from $10
to $7.50; there are $5 tickets with
student ID.
Cymbal splashes and cheap
sunglasses
Touring in support of Live! Alone in America, Graham Parker
(right) carries the angry-young-Brit attitude as far as it will go. Ru-
mour has it that there are, in fact, eyes behind his sunglasses. Find
out for sure Saturday night at St. Andrews, 431 E. Congress in De-
troit. Doors open around 9:30 pm.
Closer to home and infinitely cheaper, Eclipse Jazz is ending its
Women in Jazz series with the group Straight Ahead. Drummer
Gayelynn McKinney, pictured below, is just one of the quintet of
jazzwomen hailing from Detroit. Their performance is Sunday at 5
p.m. in the Tap Room of the Michigan Union - and admission is
free.
Hi*story
Continued from Page 8
Saving Tommies as they flounder 'neath the fires of
Calais." This accurate account is made endearing and
embracing by Keelaghan's dry wit and musical
virtuosity.
Backed by bassist Bill Eaglesham, a tall, long-
haired, lanky, and husky-voiced rocker, and Kathy
Cook, a mandolin virtuoso in her own right, Kee-
laghan's "down-to-earth" instrumentation is marked by
exquisite harmonies. An incredibly powerful and beau-
tiful tenor voice carries Keelaghan's music past the
realm of storytelling into the realm of musical excel-
lence.
In the past, being labeled "folk" often meant being
pigeon-holed in terms of audience, airplay, recording
contracts, and the like. For Keelaghan, doors have
opened because of his self-created accessibility. Writ-
ing lyrics that are moving, historical, and touching
without sounding pedantic is a talent that Keelaghan
has finely tuned. His talent has been championed by
some of folk's most recognizable stars including Gar-
net Rogers who sings Keelaghan's track "Jenny
Bryce".
Keelaghan's first album, the critically acclaimed
Timelines, was released in 1987. He just finished
recording his second LP, Small Rebellions although it
won't be available in time for his concert tomorrow
night, it should be released shortly thereafter.
Keelaghan's talent extends beyond his music. When
not on tour, Keelaghan works as a historical researcher
and continues to produce on his own Tranquilla label.
Dedicated to "roots" music, Keelaghan is intent on
keeping a traditional Celtic flavor in his repetoire. A
confirmed Celtic nut, Keelaghan believes that "You
can find a lot of Celtic nuts wherever you go."
JAMES KEELAGHAN is performing two shows at the
Ark tomorrow night. Showtimes are 7:30 and 10 p.m.,
tickets are $9.50. He'll also appear live on WDET-
FM (101.9), radio's "Folks Like Us" Program
tomorrow between noon and 3 p.m.
8
t
* The Neville Brothers
Yellow Moon
A&M
The Neville Brothers are as old as
my parents, but they're much cooler.
To think that as a senior in high
school I showed up to the Chicago
Amnesty International Conspiracy
of Hope show in the middle of their
set, and proceeded to ignore them and
their flawless, electric R&B! Back
then I knew enough to make fun of
Joan Baez's rendition of Tears for
Fears' "Shout," and Bryan Adams
pre-pubescent pablum, but I was
still mystified by Bono and his
public self-crucifixion and the Po-
lice's lukewarm reunion. That I
didn't appreciate Aaron, Art,
Charles, and Cyril when I had the
chance must be accounted to some
kind of vitamin deficiency.
.And Yellow Moon is their best
record yet. From Tony Fitzpatrick's
folk-art painting on the cover to the
dying yelps of side two's closer,
"Wild Injun," it is as genuine, soul-
ful, and wise an album as has come
out this year. Producer Daniel
Lanois (U2, Peter Gabriel) remains
thankfully invisible for much of the
album, creating plenty of room for
the killer polyrhythms and Aaron's
perfect, soaring vocals. (For more of
where that came from, pick up his
solo EP Orchid In The Storm: "Ten
Commandments of Love," plus four
other ravishing '50s covers.)
They cover "With God on Our
Side"and "The Ballad ofHollis
Brown," two of Bob Dylan's most
astringent early compositions, with
characteristic aplomb. Even "Will
the Circle be Unbroken" surpasses
all possible expectations. And the
crowning achievement is Sam
Cooke's "A Change is Gonna
Come." Cooke wrote the song as his
"Blowin' In the Wind," and Aaron
Neville brings out the gospel plow
for a dramatic delivery that re-makes
the connection between the two
artists.
The Nevilles are a rare speciesdin
these parts: a band with a heart and a
head, a soul and a conscience. And
it's all here under the Yellow Moon.
-Mark Swartz
Kirk Kelly
Go Man Go
SST Records
If you're going to have a hero, you
could do worse than Mr. Bob Dylan.
Kelly apparently takes his entire cre-
ative existence from the first two
records by the Bard of Duluth. But he
evidently never picked up Bringing It
All Back Home, or else he would
have heard the admonishment "Don't
follow leaders." Kelly's probably
forgotten to "watch the parking me-
ters, too." Go man, go. You're stuck
in park. --Mark Swartz
1.-001
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