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 gummmmmn mmmwusmmmmmmqg ICypress Tan ' Awesome Deal!! I 15 Sessions jiMonth Tanning $29.95 $39,95 1220 S. University ' 02 $2 9 747-9400 $ 9 (Above McDonald's & Kinko's) C23 exp, 3/20/94 C24 , LEGISLATING SEXUALITY: A Symposium Friday, March 11, 1994 - 7:00 to 9:00 pm Hutchins Hall, Room 116 Panelists Include: State Representative Lynn Rivers The Reverend Renee McCoy Full Truth Fellowship of Christ Church IT"| 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 oices and r-------i Literature (764-6330) and Career Planning and Placement 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 free copy of the Summer Session '94 catalog (available in March). Send the catalog to 0 my home 0 my school. B' I