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March 08, 1994 - Image 5

Resource type:
Text
Publication:
The Michigan Daily, 1994-03-08

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r 1
k w
A

Despite good acting,

'Asylui

M'proves
By KAREN LEE
Malcolm Tulip, Ann Arbor's Masters
has come up with something new.
"Asylum/Asylum," the fourth original p
his Pr
t!. Comp
Asylum/Asylum the c
asylu
Performance Network inma
March 3, 1994 forbid
They
feelings of longing, aggression and fru
newspapers and folding chairs as props.
It's a rich premise, play as substitute f
Irwin and David Shiner had a hit last yea
with "Fool Moon," which heralded the
comedy in the tradition of the great silenti
There is, though, more of Chaplin
"Asylum/Asylum." He is there in the minc
smiles, the childlike mannerisms the sad, h
actors Tulip, Jonathan Smeenge and EricI
But in films such as "The Great Dict
used his distinctive brand of comedy to bi
message across to his audience. Tulip appe
to say something; what we get instead is
while entertaining at times - soon be
Moreover, the clowning is interrupted by
appear out of nowhere and that do not seem
of a place in the action.
One such instance occurs about halfw

to be too insane
show. Until then, Tulip and Smeenge have chased each
of Movement, other around the stage, playfully "beat up" on each other,
and reenacted common courting rituals. During one of
roduction from these rituals, Tulip starts chasing Smeenge around the
ospero Theatre stage, finally throwing him over a chair and "raping" him.
pany, is set in I'm still trying to figure out just where this comes
ourtyard of an from. Maybe Tulip is trying to explore different aspects of
im where the male-female relations. Whatever the reason, though, the
tes have been incident is jarring, and it just doesn't appear to fit with
dden to speak. what came before.
act out their Of course, that's probably what Tulip wants, which is
stration, using admirable; no adventurous director or actor wants a
complacent audience. The problem is that he follows the
for speech. Bill rape with situations that are equally startling and
r on Broadway unjustified, such as a reenactment of the march up Calvary
comeback of and the crucifixion.
movie clowns. Where does all this come from? What on earth is the
than Irwin in point? I am completely lost.
cing walks, the But then I remember that these men are supposed to be
angdog eyes of insane. I figure that, for Tulip, that probably served as
Black. justification for what he does. He doesn't seem to realize,
ator," Chaplin however, that the events of the show are too random, too
)rilliantly get a "insane." In fact, while there is some marvelous acting,
-ars to be trying especially by Tulip and Black, "Asylum/Asylum"
a show that - resembles an acting exercise more than a play. No good
egins to drag. performance can cover that.

No, Sinead 0' Connor is not in "Asylum/Asylum," but these gents prove that bald is indeed beautiful.

y"scenes" that
n to have much
ay through the

ASYLUM/ASYLUM plays at the Performance Network
(408 West Washington) through March 13.
Performances are Thursday-Saturday at 8 p.m. and
Sunday at 7p.m. Call 663-0681.

KENNETH JEAN AND THE CHICAGO SYMPHONY ORCHESTRA

. ..

'Snapper' gives Insh family values

By ALEXANDRA TWIN
Like 1991's "The Commitments,"
"The Snapper," the newest feature
from screenwriter Robby Doyle, is a
The Snapper
Written by Roddy Doyle; directed by
Stephen Frears; with Tina Kellegher
and Colm Meany.
highly comic tale replete with
questionable Irish traditions and its
troubled youth. The youth in question
this time is the lovely, intelligent,
kindly, considerate, chain smoking,
beer-swigging and very pregnant
Sharon Hurley. And who's the father
of her "snapper," as you and the rest
of her town are undoubtedly
wondering? Well, it's "none of your
bloody business, so buzz off."
Released in the midst of the
Christmas rush, "The Snapper" is a.
spunky little gem that was easily
buried beneath the weighty accolades
of more widely distributed
achievements like "Schindler's List."
t rAI

Yet, now that it's resurfaced between
"Iron Will" and "Ace Ventura," it
should have no trouble receiving the
air time that it deserves.
Like many small, foreign films, it
first seems so indicative of and specific
to the culture that it was a product of,
it almost alienates other viewers. But
after about 10 minutes of watching
Sharon (Tina Kellegher) and her old-
fashioned, but well-meaning dad
(Colm Meany) squaring off, a la any
American film or domestic, teenage
scene, one can't help but choose a
side and feel right at home.
19-year old Sharon is just like any
other teen. She works, sleeps, gabs on
the phone and come Friday night,
goes out drinking with her pals. They
hit the pubs, looking for "lads" and a
good time. Yet, they're "good girls."
Girls who go to church. Girls who
mind their mums. Girls who don't get
pregnant. And when Sharon does and
won't reveal the true father's shady
character, well, that's more of a snub
than her nosy little town will put up
with. Sharon finds herself very much
on the outs, with only her mum, pop

and very best friends as allies.
Yet not to fear. This is a comedy
and very much filled with all the funny
blunders and implications both so
representative of Doyle's style and so
necessary as a means of conveying
what might be an otherwise inane and
simple-minded story line.
As the stubborn, yet fiercely loyal
father, Colm Meany is aperfect comic
match to Tina Kellegher's equally
stubborn and fiercely loyal Sharon.
Yet her loyalty lies to another-herself,
first and foremost.
If the film can be said to be about
anything deep, it is that; self-respect,
self-reliance and having the guts to
tell everyone to "buzz off," if
necessary, even if it means losing
friendships, as it does for the obstinate
Sharon. Yet, more importantly, it's
about family connections and
loyalties, although not in the cheesy,
"family values" style of so many of its
American counterparts. And beyond
all that? Well, it sure makes for a
bloody good time.

THE SNAPPER is playing at Ann
Arbor 1 & 2.

73

The Chicago Symphony Orchestra returns to Hill Auditorium tonight at 8 p.m. to perform Respighi's "Fountains of
Rome," Grieg's Piano Concerto and Beethoven's Symphony No. 7. Associate conductor Kenneth Jean will lead the
orchestra and pianist Philip Sabransky will be featured in the Grieg. The combination of a world-class orchestra and
a non-threatening program of accessible masterpieces make this concert a must-hear. To sweeten the deal,
composer and L & S Music co-owner Joe Laibman will discuss the program tonight at 7 p.m. in Rackham's East
Lecture Room. Tickets range from $16 to $50 (student rush at half-price) and are available at the UMS box office.
For more information call 764-2538.

cX00L 02
51Y OF
0UCA1Tt0

Thinking about applying
to Graduate School at
the University of Michigan
School of Education?

II

A

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Hutchins Hall, Room 116
Panelists Include:
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Wednesday, March 9th, 7:30 pm Michigan Union,
CAREER PANEL
A panel of individuals representative of se
areas will be available to discuss career ch
answer your questions.
Sponsored by:
The Department of English Language and

Keenzel Room

If YES, come to a meeting
Thursday, March 10, 6 p.m.
Room 1322 (Tribute Room)
School of Education Building
Faculty and staff will be available to answer questions
about programs, financial aid opportunities,
and admission requirements.
If you have questions, call:
OFFICE OF STUDENT SERVICES
(313) 764-7563
1033 School of Education Building

oral career
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Call 1-800-FINDS NU (in Illinois, call 708-491-
5250), or fax (708-491-3660) or mail this coupon
to Summer Session '94, 2115 North Campus Drive,
Suite 162, Evanston, Illinois 60208-2650, for your
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