100%

Scanned image of the page. Keyboard directions: use + to zoom in, - to zoom out, arrow keys to pan inside the viewer.

Page Options

Download this Issue

Share

Something wrong?

Something wrong with this page? Report problem.

Rights / Permissions

This collection, digitized in collaboration with the Michigan Daily and the Board for Student Publications, contains materials that are protected by copyright law. Access to these materials is provided for non-profit educational and research purposes. If you use an item from this collection, it is your responsibility to consider the work's copyright status and obtain any required permission.

March 14, 1994 - Image 5

Resource type:
Text
Publication:
The Michigan Daily, 1994-03-14

Disclaimer: Computer generated plain text may have errors. Read more about this.



RTS

Absolutely Amazin' again

By MARNI RAITT
An expectant silence fills the packed auditorium. As
the stage lights come up and the performers take the stage,
the crowd goes wild. Is it the Pearl Jam concert? No - not
until next weekend. The excitement is for the University's
own co-ed a cappella singing group, Amazin' Blue.
The group performed its spring concert, Vocal Blowout
III, at Rackham on Saturday. Actually, concert is not the
Amazin' Blue
Rackham Auditorium
March 12, 1994
right word. This was a full-scale production. Although
coming close a number of times, Saturday was the first
time in Amazin' Blue's six-year history that they sold out
Rackham. They even turned people away at the door.
Amazin' Blue differs from many other a cappella
groups in that they not only sing the lyrics of songs, but
they also provide the entire orchestral arrangement -
with their voices. Amidst a perfect blend of melody,
harmony and vocal instrumentation, complete with
percussions and guitars, Amazin' Blue performs numbers
that everyone knows.
To add to its charm, the group treats the audience as if
it is performing for a group of 1,200 of its closest friends
and relatives, making for a very intimate atmosphere. The
members share funny stories about life, put in plugs for
upcoming Amazin' events (like the release of their third
compact disc in the fall and auditions in April), and
encourage audience participation (like having the crowd

vote for its favorite song during the second encore).
The show's program was highlighted by such songs as
Boyz II Men's, "It's So Hard to Say Good-bye" performed
by Andrew Quinn, Sting's "Epilogue (Nothin' 'Bout
Me)" performed by Mike Hoeberling, Carly Simon's "Let
the River Run" performed by Sheetal Bhagat and Wynona
Judd's "Only Love" performed by Suzie Bertman. The
number which truly emphasized the group's talent was an
enthralling rendition of Enya's "Orinoco Flow," led by
soloist Carrie Simpson. Amazin' Blue had been rehearsing
the song for six months.
"Vocal Blowout III" was full of quick-witted humor
and slapstick comedy. For example, four members pulled
out lighters and swayed to the ending of Pat Benetar's
"We Belong," and the group dedicated U2's, "I Still
Haven't Found What I'm Looking For" to all the objects
they lost during their spring break tour.
Several of the numbers were meant to be complete
crowd pleasers. The entire audience could be heard
humming along to "The Brady Bunch Medley," and Bel
Biv Devoe's "Poison" included an incredible display of
hip-hop dance by Kelvin Chou and Quinn as well as a
unique interpretation of rap by Andrew Poe.
There was a touching moment before the first encore
when Amazin' Blue and the audience said good-bye to its
three departing members, Hoeberling, Poe and Greg
Gephart, who were performing in their last concert.
The show concluded with three encores, the third
including the Amazin' Blue alumni present in the audience.
Each encore was followed by a standing ovation.
"(Amazin' Blue) has the power to come together at a
random place and time and create magic," Gephart once
said. That was certainly true Saturday Night.

The production of "King Lear, Part One" will be playing at the Frieze Building t
'King Lear' tis ar1

By NICOLE BAKER
The show must go on, as they say
in show business. Even when your
actor playing the Fool gets the flujust
days before opening.
The University's Open Theatre
King Lear, Part One
2528 Frieze Building
March 11, 1994
Project's production of "King Lear,
Part One" keeps the audience intrigued
without all the lavishness that
normally accompanies Shakespeare,
and sans Fool, and about half the play.
Trimmed to 90 minutes, the
production tells only the story of Lear
and his daughters. "It doesn't take
much to separate the stories,just shake
it and they fall apart," stated director
John Russell Brown in reference to
splitting the stories.
Part One is the story of Lear's
descent into madness perpetuated by
his elder daughters, Goneril and
Regan, showing the complexity of

human nature and the often times
perplexing relationships between
parents and children. By eliminating
the major subplot (detailed in the
upcoming Part Two), the intricacies
of these relationships is allowed to be
examined, with surprising results.
Part Two promises to be a story of
political intrigue and mayhem, telling
the story of Gloucester, his sons and
Goneril and Regan.
As Brown described, "'Lear' is
Shakespeare's greatest play, although
most people consider 'Hamlet' as his
greatest play, 'Lear' is the one in
which he combined all of the elements
... (it is) breathtaking; it is written in
his most mature style."
The use of live music creates a
rhythm that sustained the edge of
tension with culminated in a chaotic
and violent storm, in which Lear's
descent into madness is completed.
David McManus portrays a
different kind of Lear, one that doesn't
rely on age, endowing him with a
charismatic energy and vitality.
However, the absence of age was as
much a hindrance as a benefit in

hrough Sunday. MARK FRIEDMAN/Daily
,oyalhi
portraying Lear. While giving the part
the energy of youth, he misses
credibility as a father.
Cecilia T. Grinwald as Regan is
impeccable. She creates a Regan that
is all the more deadly and viperous,
for all the sweet words and imploring
actions. In contrast, Ingrid Eggertsen's
Goneril, is haughty, viscous and
totally sinister, with baleful stares she
manages tocut through Lear's sanity.
Paul Molnar's Kent, however,
steals the show with his outrageous
behavior, while remaining steadfast
and loyal to Lear, and to the character.
Molnar provides the audience with a
Kent that could just as easily flit away
the hours in the stocks or run
roughshod over a conceited upstart.
The play maintains its -energy,
creating a production that not only
keeps the audience enthralled, but
that relies on the physical dexterity
and energy of the actors to carry it off.
KING LEAR, PART ONE plays
through March 20 in Room 2528 of
the Frieze Building, Thursday
through Saturday at 8 p.m. and
Sunday at 2 p.m. Call 764-0450.

Urge Overkill performed a strong, yet very short, set on Saturday night due to the management at the State Theater.
Ure eelDtri rokct
By MATT CARLSON grooves to the rave kids who can "Positive Bleeding" and "Sister
The Urge Overkill rock 'n' roll dance the night away at Club X - a Havana," as well as older tunes like
show wound its way into Detroit Rock sickening thought and a horrible way "Ticket to LA," but the songs that
City on Saturday night, and all the hip to end a rock show. really shook the walls were the ballads
kids swarmed upon the State Theater Whether or not a time limit affected "Emmaline," "Stull" and Neil
for a much anticipated concert Urge's rock thunder remains Diamond's classic "Girl You'll Be a

Kronos increases music awareness

By KEREN SCHWEITZER
The Kronos Quartet knows how to
entertain. On Saturday night, this

Kronos Qu
Power Center
March 12, 1994

was meant to be heard. There was
something artificial about its
presentation in a concert hall.
Michael Daugherty's work, "Sing,
Sing J. Edgar Hoover," was a fast-
paced multi-media show stopper.
Daugherty used J. Edgar Hoover's
tapes of his days in office as the head
of the FBI, as well as electronically-
developed sounds to accompany the
Kronos Quartet. The use of the
Quartet's instruments as percussive
tools was interesting as well as

exciting. The entire presentation was
dynamic and fun, but the political
statement was a bit too obvious.
. The Russian composer Sofia
Gubaidulina is finally enjoying the
musical attention that her works
deserve. But because her music is
very different, it requires adequate
explanation and guidance upon its
first hearing. Unfortunately, the
Kronos Quartet did not offer much
See KRONOS, Page 7

raiNv'RaT~. ~~~ RFVU- IFW 11

W

GVIV4GIL1 RGYIGYv

m

Urge Overkill
State Theater
March 12, 1994

experience. Although UO (as all the
real cool cats call 'em) was certainly
not a disappointment, some of their
set seemed to drag.
The evening blasted off with a
rousing set from Scotland's new breed
Eugenius, whose sound bore an
uncanny resemblance to fellow
countrymen Teenage Fanclub.
Eugenius added some of their own
spike to the punch, however, and
revved up the throng of Urge disciples
admirably.
One or two things need to be said
about the State Theater's policy of
limiting bands playing time until 10
p.m. on Saturdays. Though it's only a
rumor, the State Theater and its
proprietors 89X (the cutting edge of
rock - ha!) supposedly need to cut
off bands at a certain hour so the DJ
can start spinning his soulless disco

unanswered. After a quick break
between sets, UO (Nash Kato, King
"Eddie" Roeser, Blackie Onassis and
a tour bass player) entered the stage to
the cheering masses and introductory
chimes of "Crackbabies." The song
from the band's hit album "Saturation"
seemed to drag a bit, but the pulsating
crowd at the front was not phased, as
Urge overkill are the
gods of style as well as
rock, but Saturday,
their patented suits
and gold UO medals
were noticeably
missing.
they began to surge forward at the
sound of Urge's piercing power
chords.
Only a few other songs were below
par, however, and UO followed
through with an excellent rock show.
They played their "Saturation" singles

Woman Soon."
Urge closed the show with their
best performances of the night - the
blues-injected "Stalker" and the torch
song "Dropout," which featured
drummer Onassis on tear-jerking lead
vocals.
Urge Overkill are the gods of style
as well as rock, but Saturday, their
patented suits and gold UO medals
were noticeably missing. In their
place, T-shirts, each printed with a
different letter of U.R.G.E., adorned
the band - a constant symbolic
reminder that UO uses teamwork to
deliver their tight rumble of rock 'n'
roll power. Urge Overkill is here to
stay so catch the fever that's sweeping
the nation!

ensemble presented a concert
complete with amplified sound,
colorful lighting and an artistically
arranged stage. But did the music
they performed really need the
spectacular to enhance their musical
interpretations? I think not, and the
music could have been communicated
better without the distractions.
Kronos' guest artist was Foday
Musa Suso, a Gambian musician and
composer. He performed three short
works played by plucking his kora.
His performance was captivating with
his hauntingly beautiful melodies and
soothing voice. It is always a treat to
be exposed to non-Western music,
but it left me wondering if this is
really the way this musician's music

... ....... ..-.......-
A NNA p.ro
5th AVE. AT LIBERTY 761 -9700
NAKED (R) - Mon, Wed, Thurs: 4:15, 7:05, 9:45 7
Tues: 1:30,4:15, 7:05, 9:45
BLUE (R) - Mon, Wed, Thurs: 5:00, 7:20, 9:20
1Tues: 1:00, 3:00, 5:00, 7:20, 9:20I
BARGAIN MATINEES $3.50 BEFORE 6 PM
STUDENTS WITH ID $4.00 EVENINGS
Present this coupon with purchased ticket thru 4/10/94)
"--""--""""m""-""m"m"""-"""""

7S-GUIDE3 8 ACCEPTING APPLCATI3NM
FOR THE 1094-95 ACADEMIC YEAR
76-Guide is an anonymous peer counseling
program sponsored by Counseling Services.
Applicants for the volunteer program need to
be enrolled students who are good at working
... _ ........1. Rl - r .aw .a enrvafl .e.flflflis rIt ^M0

Eastern Michigan University
W omen's History Month
SUNDAY
MARCHPO

A

Back to Top

© 2020 Regents of the University of Michigan