8 - The Michigan Daily - Tuesday, February 1, 1994 Ageless By NICOLE BAKER A children's play? They may be young adults, but they don't do kiddie plays. Vitality, enthusiasm and en- ergy are just some of the key elements in the Ann Arbor Young Actors Guild. This weekend at the Performance Network, the Guild tackles Peter Hall's adaptation of George Orwell's "Animal Farm" with a mixture of youthful talent, adult determination, discipline and professionalism. Founded last fall, the Guild is cen- tered around three theater organiza- tions: The Lights Up! Company, Fast Fable Company and the Apprentice Company. It features players ranging in age from 6 through early 20's. To the Guild's credit is last fall's presen- tation of "The Magic Flute," defi- nitely not a children's play. The Guild members have learned to be flexible, as rehearsal space was usually in the different basements of Animal Farm' the Guild members. The major re- hearsal spot was Clonlara School, where the Guild will be based. Sue Roe, "Animal Farm" co-di- rector and Guild founder, discussed the production. "The innocence of the kids is being played against the satire within the play, raising intriguing questions," she said. Cross-casting - that is, a boy narrator being played by a girl - enhances this dichotomy within the play while maintaining its cohesiveness with Orwell's novel. Adapted from Orwell's political satire, "Animal Farm," the play re- volves around the lives of the animals on a farm. The animals revolt against their mistreatment by the owner. With the leadership of the pigs, the animals work together to create a self-ruled farm. However, after a leadership struggle things change, and the pigs begin using the dogs as a disciplinary force. By the end, the pigs have become just like the previ- ous owner, and nothing has changed. "Animal Farm" is very much an adult production piece, with all the intricacies and nuances found within any political satire. The youth of the actors and the use of music and move- ment should provide both an inno- cence and a fresh prospective. Co-director Melinda Teter ex- plained, "Young people are full of energy and willing to jump in and try things. They aren't as inhibited as adults." The production, according to Teter, is "anything but a typical children's play." Another challenge for these young actors is that they have to design the costumes and sets themselves. Uni- versity student Toni Auletti is assist- ing with the costumes, which are minimalist with a black base. There will be suggestive elements to the costumes (ears, noses and hoofs), but the actors will portray the animals through movement and sound. The set is also minimalist, with only elements of a farm. "(It's) like a child's building block set," Roe said. With difficult material and con- cepts, the play should tax the ingenu- ity of youth, providing fresh insight into Orwell's political satire. ANIMAL FARM will be performed February 4 -13, Thursdays through Saturdays at 8 p.m. with Saturday and Sunday matinees at 3 p.m. at the Performance Network (408 W. Washington), $4-$6. Call 663-0681. Dance, Dance, Dance Haruki Murakami Kadansha International Ltd. Haruki Murakami's world has al- ways comprised improbable images and extraordinary events. In his latest novel, "Dance, Dance, Dance," this Japanese author's fictional slices of reality take on a surreal importance through his creative characters. His Everyman-with-no-name has witnessed an old friend's fiery death, journeyed to the end of the world (and returned, only to urinate to the sooth- ing strains of Ravel's "Bolero" in'an ultimate climax), and spent an entire year eating only spaghetti. Murakami's ironic juxtapositions of songs and faces, places and events leave indelible images of what seem like the products of an alien con- sciousness that somehow mirrors our own lives. When we return to the main char- acter, free-lance writer from "A Wild Sheep Chase," he has returned to a normal life. Yet the events in his past still beckon him. Memories of the Sheep Man, the Dolphin Hotel and the girlfriend with omnipotent ears seep through dreams into his reality, and he knows he must stop their weep- ing. He wonders, "Why would any- one want to cry for me?" Before he finds out, however, the list of people crying grows. He re- turns to depths of his past, revisits the Sheep Man, and a new cast of charac- ters forms. He is drawn towards odd companions who somehow always lead him to his past rather than push him forward. The more eccentric a character is, the more likely he will serve as a conduit to reconnect the main character's memories. Each acts as a tour guide, propelling him backwards; even vehicles, ironically, set the stage for his flashback adventures. Through dancing, (Everyman-with-no- name) soothes the cries of those whose memories long for him. When he understands their sorrow, he can finally leave it behind. Sometimes, these characters show him periods of his life of rapid change and havoc. Often, they present all- pervasive and inescapable visions of death. His memories of people and places hang in the air waiting to be released. His questions linger: Why is it my job to let these things go? How are they all related? Why now? A self-deprecating attitude tem- pers self-awareness and self-reflex- ivity, knowing that, like his charac- ters, he is only shoveling so much "cultural snow." In "Dance, Dance, Dance," despite all his grumblings about the menace of "advanced capi- talist society," Murakami has cleired a path for his protagonist to the eid of his vision. The different characters nudge him along, pointing out twists and turns. Murakami himself even puts in an appearance. In this way, Murakami distances Everyman-with-no-name from his past - as if the passing of time al* has afforded space. It is in this space where Murakami allows his charac- ters to find answers to their questions. Memories appear as exhibits, only now he can take the time necessary to read the placards describing each event and summarizing his relation- ships. Given room, his protagonist can attempt to reassemble his past into a working order. "Dance, Dance, Dance" is not* much a sequel as it is an epilogue. Confronted mid-life by the reality of his past, Everyman-with-no-name must resolve the past before heading off into new territory. The SheepMan tells him early on that he is to "Dance so it all keeps spinning." Through dancing, he soothes the cries of those whose memories lo for him. When he understands sorrow, he can finally leave it behind. It is a most enjoyable lesson, filled with enough adventure that, the reader doesn't mind learning along the way. And the reader comes ayvay from it all feeling reassured, re- minded by Murakami that the gift of life is to live. - Daniel Chud, Professional Insights Program Minority students from all majors translate accomplishments, abilities and attributes into career options for the future Guest Speakers Career Decisions Resume Writing Interviewing Job Search Registration deadline for Winter Term: Wednesday, February 2 CP&P is committed to providing full and equal access to services. If you need an accommodation or auxiliary aid, please advise us so that we may work together to provide the accommodation. Additional information and registration forms available from: 32T0 Student Activities Building Ann Arbor, MI 48109-1316/313-764-7460 heUni~vwsty ofihia Career Plannin P'laci ent A Unit tit Studesnt Attain, BLINK Continued from page 5 murder. Due to a corneal transplant, she's been given back the ability to see. Problem is, she's also suffering from a condition known as "retroac- tive hallucination." It's a side-effect of the operation and it means that sometimes when she looks at some- thing, her mind won't register it until a day later. She's also suffering from hallucinations, due to her traumatic childhood. So, the basic premise is did she actually see the killer, or was it just another hallucination? And if she did see him, is he now after her, too? Yes, your standard thriller, but Madeleine Stowe, who plays Emma, gives her so much strength, spunk and distinct personality of her own that you can't help but like her and there- fore care about her well-being. Aidan Quinn is just enough of a character actor to give Detective Hallstrom the depth and quirkiness needed to el- evate him from the ranks of your typical tough-but-sensitive cop. And the real-life band, The Drovers, that the fictional Emma is a member of, give a nice, soulful undertow to the otherwise glossy-gritty reality ofth film. Although one of the last scenes blatantly steals from one of the last scenes of "Silence of The Lambs," (the one that's got an armed Jodie Foster bumbling about in the dark, while the armed, useless cops are bumbling about outside), the film as a whole boasts an originality, or at least, an attempt at originality that is not the norm with your stand. thriller. Is this enough to make it a Good Film, independent of its genre? Well, no, not really. But you gotta give them credit for trying. BLINK is playing at Showcase. Spring Break'4 Located on the tropical tip of Texas, South Padre Island is the hottest Spring Break destination. Literally! This year, Spring Break, at SPI is hotter than ever NAtION with more music, Soum AI 171w more watersports and more MATAAROS legendary nightlife. 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