The Michigan Daily - Monday, September 24, 1990 - Page 7

Auditions for Reckless by Craig
Lucas, Sept. 24-25 in Rm. 2528
Frieze Building. No preparation is
necessary, and sign up in the Frieze
Green Room (first floor) for audition
times, or call John Casson, director,
at 663-2783.
Comedy Company, the Univer-
sity Activities Center's sketch
comedy troupe, is holding auditions'
on Sept. 24-26 for actors. Call the

UAC at 763-1107 for more
information, and check board in the
UAC office. All interested writers
and performers are encouraged to
attend the first writers' meeting
tonight, Sept. 24 at 7 p.m. in the
UAC offices.
Bill Barr's Comedy Club is
auditioning actors and writers at 7
p.m. on Oct. 1 at the Club
Heidelburg. Shows will run every

Friday and Saturday night from Oct.
26 through New Year's. Five
performers are needed. Call for
specifics - 995-8888.
Dorothy Talk, a theater group
from London, will be presenting a
workshop at the Performance Net-
work on Saturday from 10 a.m. to 4
p.m. Call 663-0696 for more info.


WEEKEND
Continued from page 5
never encountered a one-act operetta
before, but I have a low opinion of
its merit in the world of musical
theater. The only thing the composer
can do in that one act is satirize
grand opera, because there certainly
isn't time enough for plot develop-
ment.
Offenbach's Ba-Ta-Clan, per-
formed as the first part of a musical
evening presented by the Comic
Opera Guild this weekend, was the
victim of such difficulties. The set
and costumes were magnificently
rich and colorful, but the acting
didn't live up to the surroundings.
The musical numbers, though al-
right musically, were intolerably
long to no apparent purpose.
In light of the late difficulties
with the contracting of Miss Saigon
in New York, it is a wonder that the
Comic Opera Guild wasn't afraid of
bringing down the wrath of Actor's
Equity on their almost entirely An-

glo-Saxon chorus who were sup-
posed to be Chinese. I also had a lit-
tle difficulty believing that Miguel
Rodriguez was a misplaced Parisian
because of his accent.
Things did not improve after the
intermission, when the Guild - the
whole school of fish - were taken
out of water and set in a frying pan
- one full of Irving Berlin songs.
Berlin's light and sweet tunes were
not meant to be sung with operatic
vibrato, and this was the downfall of
nearly every number.. It wasn't so
much the wavering in and out of
tune as the unsuitability of the style
to the music. And the microphones
did nothing to help the cast; part of
the time they weren't turned on, and
when they finally were the echo in
the theater only made things more
awkward.
It astonished me to see the cos-
tumes go from the splendor of Ba-
Ta-Clan to lining-satin dresses and
ill-fitting evening clothes in the Irv-
ing Berlin Songbook. I trust the first
costume designer was not present for

the second part of the show. I was
recently fortunate enough to see an
evening of Noel Coward and Cole
Porter songs which was effectively
presented with two pianos and a
small number of singers on a bare
stage. COG would do well, if they
ever attempt to do a popular music
revue again, not to make an effort to
put each number into context, but to
let the quality of the music carry the
evening with out bothering some
poor costume designer.
There were a few lovely numbers,
little sparklers in an evening of ama-
teur performances. Penny Kindraka
must be congratulated for an
exquisite rendition of "Be Careful,
It's My Heart." Although not per-
fectly in tune with each other, Tom
and Pat Petiet were charming as the
two vaudeville swells from "Easter
Parade." Tom Petiet, incidentally,
did by far the most outstanding job
of the four cast members as the revo-
lutionary leader Ko-Ko-Ri-Ko in Ba-
Ta-Clan.
-Beth Colquitt

Oohl Don't the Band of Holy Joy look so very cool and hip and British and now and able to drop the best musical
pop culture references in a single bound.

Records
Contiiued from page 5
phrase, "Glorious paean" (even
though they do use creative spelling)
at the conclusion of "Because It Was
Never Resolved" is lame.
Great piano introduces "Unlikely
Girl." This is the loner's and the ide-
*alist's song: "Truly happiest alone/
You're in a world... that's your
own/ I'm a deserter too... let them
chase your shadow they can never
catch your soul."
With much Marilyn Monroe in-
nuendo and a storytelling air to it,
"Bitten Lips" is simple yet powerful
and overwhelmingly compelling.
This is an atypical love song,
"Yours is a playground and mine,
it's a tomb." Any band whose lead
singer tells about "...having a quiet
drink after the late picture show
[when] Prince was on the jukebox"
is fine in my book.
"Here It Comes" contains the de-
scription of "style" in the late '80s:

"Ripped jeans and bleached hair/
Converse boots, Vision street wear/
Like Action Man in Lego Land."
This, combined with the proceeding
song, "Hot Little Hopes," is a driv-
ing commentary on the night club
scene. "It was the usual tawdry set-
ting of a nightclub when we met/
product of a generation, ever quick to
forget... some people drink too
much and just don't know when to
stop/ You'll feel sordid and spiteful
and hateful the next day/ didn't even
get a number, you squandered all
your pay... You'll be back next Fri-
day..." Do you relate?
Perhaps one of the most self-ex-
ploratory tracks on the album,
"Freda Cunningham" raises the ques-
tion, "...should I follow my dreams
or stay with what I know?" Your
feet tap and your hips sway, a smile
might even peruse your lips, as you
ponder life decisions, "All these uni-
versal hassles taken on as my
own..."
"Torch Me" is a corny little ditty

that leads into the disappointing title
track "Positively Spooked" quite
well because it too is rather lame,
or, more accurately, annoying.
The closing song, "Look Who's
Changed With The Times" chroni-
cles the aging process. "You're fin-
ished with the past it hasn't finished
with you/ All that bad karma like
shit on your shoe." It sums up the
song, the album and life with one
driving sentence, "Look who's
changed, maybe those times have
changed with you."
The Band of Holy Joy gives the
individual the illusion that it's his or
her life being depicted in the album
while, in actuality, they are skill-
fully analyzing the events of the
time. As the carnival-album comes
to a close, the listener is left drained
but amazed by the experience.
-Kim Yaged
Save the LP!
Daily Arts

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Wayne StateUniversity isselect-
Ingstudentsforlhe 199M2 Post-
Baccalaureate Program for ml-
nority and disadvantaged stu-
dents of high potential who In-
tend to pursue doctoral study.
The program Is primarily de-
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experienceddiscdmination. Se-
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a 12-month stipend of approxf-
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ted to Wayne State's Ph.D. pro-
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during the period of their gradu-
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Applicants shold hold the
Bachelor's re(or expect to
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1994 and must have honor
point averages not lower than
2.5 on a 4.0 scale.
To receive an application,
please complete coupon and
mal to:
Post-Baccolou.ato Program
In Uberal Arts
Tessle Baltrip Sharp
Wayne State University
Office of the Provost
Detroit, Michigan 48202
Telephone: (313) 577-2309

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Yes, I am interested In the the Post Baccalaureate program In
Uberal Arts. Please send me more Information and an application.

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