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April 15, 1994 - Image 9

Resource type:
The Michigan Daily, 1994-04-15

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

Written almost two decades ago,
Andrew Lloyd Webber's "Evita" has
survived through the years. The story
of the young woman from Argentina

Fisher Theatre
April 12, 1994
who had a passion for power is a story
most of us can relate to.
"Evita" tells the story of Eva Peron,
the second wife of Argentine dictator
Juan Peron. The musical begins when
Eva convinces a nightclub singer to
take her to Buenos Aires when she is
only 15. Once in the city, Eva dumps
the singer and starts sleeping with
everyone and anyone she can get her
hands on in order to move up the
social ladder of success.
Later, Eva becomes an actress and
meets Juan Peron, a possible candi-
date for the presidency of Argentina,
at a benefit concert for the victims of
"Evita" is immortal, thanks to this production at the Fisher through Sunday. adevastating earthquake. Eva seduces
Women's Glee Club ends inactivity

eeps the r
Peron and directs all her attention
toward highly influential political fig-
ures. Once she sinks her claws into
Peron, she moves in with him and
kicks out his mistress.
Eva never leaves Peron's side, and
quickly she begins to take hold of his
power, angering the army and the
aristocracy. Eva's emotional and bril-
liant speeches wow the masses, and
she becomes more popular than Peron.
Eva is raised to a "god-like" status
among the public when she forms the
Eva Peron Foundation, which makes
a person's dream come true, for a day.
The public was never aware of the
darker side of the Peron administra-
tion when she died of cancer at 33.
Throughout "Evita" Eva is con-
fronted by a disgruntled Argentine
student named Che. Che is primarily
used as an narrator and helps the au-
dience follow the story. He also criti-
cizes Eva's every move.
Donna Marie Ashbury is a superb
Eva. Her transition from the frisky,
playful school-girl to the domineer-
ing, power-hungry dictator is excep-
tional. This is the only production of

"Evita" that I have seen, v
emotionally moved by hert
in the end. After displayi
anny for over two hours it
for the actress playing Ev
remorse from the audience
dies, and Ashbury was ab
Of course, she belted
Cry For Me Argentina" w
vengeance, but she sang "
prisingly Good For Yo
sweet, innocent quality w
I found her so likable.
Daniel Cooney is the p
He balances sarcasm and v
the right amount of sinceri
cism. He pokes fun at the
as he waltzes around stage
but, at the same time, he
gently critical when he co
the Peron administration. H
ing duet with Eva, "H
Adored," is proof that hisv
be simultaneously rough,
While Cooney and A
excellent leads, the most
moment of the evening hal
they aren't even on stag
moves Peron's distraug

The Michigan Daily - Friday, April 15, 1994 - 9
rolling in
where I was (Elisa Sagardia) from her flat, and she
tragic death sits outside of the door pitifully sing-
ng her tyr- ing,"Another Suitcase Another Hall."
is difficult Sagardia's beautiful soprano voice
va to evoke combined with the touching lyric "So
e when she anyone can hurt me - and they do /
le to do so. So what happens now?" moved me to
out "Don't tears. Unfortunately, this is the only
vith a fierce song she sings, and leaves the audi-
I'll Be Sur- ence wanting more. It's almost as if
u," with a Lloyd Webber had this great melody
hich is why floating around in his head, so he
decided to create a insubordinate char-
'erfect Che. acter to sing it.
vit with just "Evita" is definitely one of the
ty and criti- great musicals. The fact that it is still
aristocrats able to tour the country and make
e with them loads of money should earn Lloyd
e is intelli- Webber some credit, especially since
mments on nowadays he is so busy trying to rig
isenchant- flying chandeliers and turn great films
igh Flying into sub-par musicals.

words could
and sweet.
shbury are
t endearing
ppens when
ge. Eva re-
ht mistress

EVITA runs through April 17 at the
Fisher Theatre (3011 W. Grand
Blvd., Detroit). Performances are 8
p.m. tonight and Saturday, Sunday
at 7:30 and 2 p.m. on Saturday and
Sunday. Tickets range from $25 to
$47.50. Call 872-1000 or 645-6666.

Earlier this year, our football team
lost to Notre Dame. We were bitter.
But resentment will turn into camara-
derie this Sunday afternoon, when the
Michigan's Women's GleeClubhosts
the Notre Dame Men's Glee Club.
"We've been rehearsing for a long
time," said conductor Theodore
Morrison, who also serves as Associ-
ate Professor of Conducting and Di-
rector of Choirs at the School of Mu-
sic. "The audience should expect to
be blown away. It's very exciting."
To be held in the Union's Ballroom,
the concert is the last of seven that the
Club has given this year.
The first half of the two-hour con-
cert will be given by the Notre Dame
Men's Glee Club, under the baton of
Dan Stowe. "I've never heard the
Club under their current director,"
stated Morrison. "We're all looking
forward to the collaboration."
Their performance will showcase
pieces from the Renaissance, some of
which include sacred text. They will
also sing more recent songs, such as a
joint piece with the Women written
by Gilbert and Sullivan.
Michigan's Women perform the
second half of the concert, singing a
mixture of melodies. Included is a
Latin Madrigal by Gregg Smith, who,
according to Morrison, is "one of the
more famous choral conductors and
composers today."
Director Jonathan Hirsch, a gradu-
ate student, will conduct a portion of
the program, highlights of which are
many Canadian songs. "These songs
were written by Patriquin, a native
Canadian, reflecting the folklore of
Canada," explained Morrison.
Finally, the Women will sing
pieces by Gilbert and Sullivan, ar-
ranged for women's voices. "One song
is the 'H.M.S. Pinafore,' and all the
words have been feminized," said
Morrison. "Instead of 'he's the Cap-
tain of the H.M.S. Pinafore,' we'll
sing 'she's the Captain."'
The finale is a joint piece with
both Clubs. "Gondoliers," by Gilbert
and Sullivan, brings together both
choirs in a celebration of harmony.

This concert is the last of a very
successful and active season for the
Women's Glee Club. Directed jointly
by Morrison and Hirsch, the Club has
already given seven performances.
"This year has been very strong,"
said Morrison. "We started at
Rackham in November, and prepared
for a choral festival which included

said Morrison. "Many interests are
Morrison is acting as interim ar-
tistic director while the Club searches
for a new permanent director. To-
gether with Hirsch, they have pre-
pared the women for the concert.
The Women's Glee Club has a
rather rocky and varying history here

'This year has been very strong. ... We've made
some terrific artistic progress.'
- Theodore Morrison, Women 's Glee Club

Live Through This
DGC Records
Poor Courtney Love. Instead of
celebrating the release of her well-
crafted and compelling major-label
debut, she mourns the loss of her
musically brilliant but emotionally
troubled husband, Nirvana's Kurt
Cobain. Understandably, she is too
distraught to further promote the al-
bum or get over its frighteningly apt
title, "Live Through This." Which is
just another tragic reprecussion of
Cobain's suicide, for the record is
truly great and defintely one of the
best albums of the year so far.
Unfortunately, listening to the al-
bum so recently after the tragedy gives
one the uneasy feeling of rifling
through Love's diary. It doesn't help
that her singing and songwriting are
close enough to her late husband's to
provide some eerie moments: her
growls and screams are coupled with
punk rave-ups and bruised ballads
similar to those Cobain favored.
However, repeated listens to "Live
Through This" reveal that the album
is not entirely autobiographical nor,
dependent and deriviative of:
Nirvana's work. It's not necessary, or,
even worthwhile, to view the album

as an appendage or footnote to
Cobain's legacy. The album, like
Love, stands on its own. The songs
are suprisingly varied, especially con-
sidering the band's 1991 debut album
"Pretty On the Inside," which was a
howling testament to Love's power-
ful vocals and songwriting potential,


but lacked the depth that this new
album is rich in.
The songs range from the delicate
yet cathartic "Violet" and "Jennifer's
Body" to the growling andembittered
"Asking For It" and "Credit In The
See HOLE, Page 1

all the choirs in the University. We
had Women's Voice Day for high
school students in the area, with a
public performance in January."
"We've made some terrific artis-
tic progress."
Women's Glee Club membership
cuts across all schools of the Univer-
sity. Though it is comprised of mostly
undergraduate non-music majors, it
does include some graduate students.
A few members have already gradu-
ated, but still live in Ann Arbor and
wish to sing.
"They're quite an eclectic group,"

at the University. "We've only been
active for the past fifteen years or so,"
said Morrison. "Before that there was
a little hiatus." Fortunately, that hia-
tus has ended, and Sunday's concert
should be an exciting culmination of
their recent activities.
Notre Dame Men's Glee Club will
perform at 3 p.m. Sunday April 17
in the Union Ballroom. Tickets are
$7 and $4 (students), and are
available at the Union Ticket
Office. Call 763-TKTS.

PHILADELPHIA: 4:30, 7:30, 9:55
R EMA I NS OF TH E DAY: 6:45, 9:20
6RUMPY OLD MEN: 4:50,7:20
MRS. DOUBTFIRE: 4:20,7:00,9:40
PHILADELPHIA: 1:30,4:30, 7:30, 9:55
REMAINS OF THE DAY: 6:45, 9:20
GRUMPY OLD MEN: 12:50,2:50,4:50, 7:20
MRS. DOUBTFIRE: 1:15,4:20,7:00, 9:40
BEETHOVEN 2ND: 12:45,2:45,4:40



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