COME TO THE BLIND PIG THIS SATURDAY
The Michigan Daily - Friday, December 2, 1994 -11
RC Players
By SHANE MICHAELS some exe
It seems as though the most im- logues th
portant projects and activities that take would wo
place on this campus are initiated not and kindc
by administrative boards or faculty Impor
members, but by students who are was a foci
drawn together by a common vision. which di
A case in point is The Residential tor, butv
College Players upcoming produc- equal con
tion, "Kisses and Chaos: An Evening members
With Harold Pinter" that will be ap- "Jam
pearing this weekend and next week- tial step o
end at the Residential College Audi- once it g
torium in East Quad. This production just step
is the result of a student group-en- everybod
deavor initiated by four University liked to u
undergraduates last January. there's n
Scott Horstein, one of the co- body else
founders of the group, explained its on each p
beginnings: "I guess the initial impe- sibility fo
tus came from James (Ingagiola, the Aftert
other co-founder.) James and I had a goal for th
class on early modern drama together ing for th
in which there was a performance interested
project. It occurred to James - who Abruzzo<
had done some directing before - and the gi
that he would be interested in trying "It wa
to get a group together to work on meeting,t
some scenes. It took us several long Sunday u
conversations to try to discover what Horstein s
we were after: A workshop - an own exer
ensemble of a relatively small group ally, was
of actors that we would choose based come on;
on our experiences with them. each other
"(We wanted) a bit of a home for I started fi
actors - some place that wasn't nec- sion ther
essarily a class. Some sort of place from doin
where we could address our (acting) that way%
concerns with each other. We thought Sunday ni
that we could all work together in a "We a
kind of community - group atmo- we wereI
sphere. The idea would be that each April. We
week we would get together and do trating mo
getch
:rcises. If people had mono-
at they were working on we
ork on them with each other
of see where it went."
rtant to the two co-founders
us on a group process -one
d not require a single direc-
which was the product of
ntributions from all group
es and I would take the ini-
of contacting everybody but
ot started we would kind of
into it - to try to make
y as equal as possible. James
se the word 'democratic.' If
obody standing over any-
it really puts the emphasis
erson taking a lot of respon-
r themselves," Horstein said.
they had decided on their
he group, they began search-
e right people who would be
3in joining them. Nick D.F.
and Erin Crowley joined,
roup was ready to begin.
s just the four of us initially
then, lo and behold, next
we were all there again,"
aid. "People brought in their
cises. What it became, actu-
just a very nice place to
Sunday to just work with
r for acouple of hours. What
inding was, after each ses-
e was a sense of freedom,
ig it ourselves. It continued
with one meeting a week on
ights.
actually didn't decide that
going to do a show until
liked the idea of concen-
ore on the process, initially,
aotic kiss of Pinter
than working towards something. But
eventually the semester was coming
to a close, and there was a feeling that
we had established something. We
wanted to spend more time with each
other and make the group exploration
more intensive by use of a text."
Inevitably, the problem of finding
the most suitable text surfaced:'"We
were looking for something which
wouldn't need a director's or
designer's vision. Certainly with
Pinter there is all sorts of room for a
director to really take over, but if you
read the scripts it's very easy to see
what these characters are really do-
ing. An individual actor's interpreta-
tion could suffice," he explained.
So by replacing a single director's
interpretation with a combined group
interpretation, the group has given us
"Kisses and Chaos: An Evening With
Harold Pinter," which consists of two
one-act plays,"The Dumb Waiter and
The Lover."
"The Dumb Waiter," performed
by Abruzzo and Horstein, is a dia-
logue between two hired gunmen
awaiting their next victim. "The
Lover," performed by Crowley and
Ingagiola, concerns a married couple
grappling with middle-class moral-
ity. The effort is the product of a very
interesting rehearsal process, that
should make for a fascinating evening
of theater.
KISSES AND CHAOS: AN
EVENING WITH HAROLD
PINTER will be performed Decem-
ber 2 & 3, 9& 10 at 8 p.m. and
December 4 at 7 p.m. at the
Residential College Auditorium in
East Quad. Tickets are $5 ($3
students). Call 213-1758.
Attention, attention: One of the best, most interesting shows of the year
heads into town tomorrow. Yes, it's the one you've all been waiting for -
Come with Guided by Voices and Cobra Verde. Though they were here just a
month ago opening for their pals Dinosaur Jr., it's always nice to see a band
as passionate and and unique as Come. "Nice," however, is not the word
for their piercingly beautiful and heart-rending music. Song titles like
"Mercury Falls," "Poison," "Let's Get Lost" and "Wrong Side" hint at the
pain-filled poetry inside the band's latest album, "Don't Ask Don't Tell."
Thalia Zedek, Come's singer, has a wrenching and emotive style similar to
that of Patti Smith's or Courtney Love's, and Chris Brokaw's guitar playing
adds to the sonic devastation. While parallels can be drawn between Come
and artists like PJ Harvey and Nirvana, Come's uniquely bleak-yet-beautiful
vision remains completely their own. In direct contrast to Come's gloom and
doom is the lo-fi quirk rock of Ohio's own Guided by Voices. Their newest,
"Bee Thousand," contains odd little gems like "I Am a Scientist." Since
*heir aborted Halfway Inn gig, anticipation abounded as to when they would
finally appear. Well, they're finally here, and if you needed any more reason
to go and see this show, the most excellent Cobra Verde open the show. It
all goes down at the Blind Pig, starting at 9:30 p.m. Tickets are $8 in
advance, so there's no excuse for missing this one.
- Heather Phares
r/l
University of Michigan
School of Music
Cinderella
Still Climbing
Mercury
The clock struck grunge, and all
the bands changed but one. Oh,
Cinderella, Cinderella, put on that
glass slipper, spandex and hair over-
done, come and show us music lovers
once again how to have fun.
After four years of silence, the
glam-metal band Cinderella has re-
turned from the Gypsy Road to bring
*Ws all another dose of their hard rock
and gutsy blues for the long cold
winter.
"Still Climbing," the band's fourth
album, and first in four years reestab-
lishes Cinderella's potency as a great
hard rock band. The greasy guitars
are oozing with the blues and singer/
guitarist Tom Keifer's vocals are more
screeching and sweet than ever.
* Although "Still Climbing" may
not win Cinderella too many new fans
in this age of "Alternative" music, it
will definitely please the millions of
older devoted ones. The album is an
excellent follow up to "Heartbreak
Station," and combines the best styles
from that album and its predecessor,
"Long Cold Winter."
Songs like "All Comes Down"
nd "Still Climbing" rock in the tradi-
ional Cinderella style, pushing and
pushing through Keifer's howling
vocals and catchy riffs. Others like
"Through the Rain" and "Hard to
Find the Words," which is a tribute to
Keifer's mother who died of cancer,
are some of Cinderella's greatest bal-
lads ever recorded.
"Hot and Bothered," which ap-
eared on the "Wayne's World"
oundtrack is the only track on "Still
Climbing" recorded with former
drummer Fred Coury before they
booted him. The rest of the line up
remains intact. Eric Brittingham on
bass, Jeff Labar on guitar and, of
course, the multiple horns, back-
ground vocalists, pianos and organs
give the album the fun and bluesy feel
Cinderella fans have grown to love.
For Cinderella, "Still Climbing"
proves that they aren't all washed up,
and will keep on doing what they
want, as long as they want. Their
songs keep on getting better and grow-
ing with the band, and maybe one day
they will get the recognition they de-
serve.
- Brian A. Gnatt
Front Line Assembly
Millennium
Roadrunner
Two years ago, Front Line As-
sembly released one of the most rivet-
ing and intricately atmospheric works
of their career with "Tactical Neural
Implant," and pretty much no one
cared.
So, like a lot of these old Wax
Trax bands, FLA have decided that
the only way to survive is to make the
big crossover into "Techno-metal."
Unfortunately, but not surpris-
ingly, "Millennium" comes off as
horribly lame. It sounds like FLA's
Bill Leeb and Rhys Fulber laid down
some thunderously harsh rhythm and
bass tracks, and then changed direc-
tion entirely with some stunningly
generic metal-crunch guitar riffs.
The result is something that lacks
both the haunting subtleties of their
earlier work and the raw power that
they had obviously been hoping to
add.
Not one tune on this album mea-
sures up to any of Front Line
Assembly's older material, which
once dazzled listeners with both high-
gear sequencers and haunting analog
textures. Rather than sounding unique
or exciting, "Millennium" serves as
Front Line Assembly's least inspired
work to date.
-Andy Dolan
Paris
Guerrilla Funk
Priority Records
With the immense success of
1992's "Sleeping with the Enemy,"
his second release, Paris established
himself as much more than another
rapper lucky enough to make it big.
Paris is also a philosopher and a
teacher whose lessons are accompa-
nied by some dope beats.
"Guerrilla Funk," Paris' newest
release, is not only phat, it's even
phatter than "Sleeping with the En-
emy." Paris is getting better and with
each release, and his messages are
getting stronger.
Every song on "Guerrilla Funk" is
hardcore, deep and powerfully sin-
cere. If you buy this LP for the sole
See RECORDS, Page 12
I
Don't Panic!!
If you think you're pregnant...
call us-we listen, we care.
PROBLEM PREGNANCY HELP
769-7283
Any time, any day, 24 hours.
Fully confidential.
Serving Students since 1970.
* I ..
Thursday-Sunday, December 1-4 and 8-11
The Three Sisters, by Anton Chekhov
Theatre and Drama Production; John Russell Brown, director
Trueblood Theatre, Frieze Building
Thurs.-Sat., 8p.m.; Sun., 2p.m.
Tickets: $12, students $6 (764-0450)
Friday, December 2
Opera Workshop
Timothy Cheek, music director; Joshua Major, director
Love scenes from Romeo and Juliet, The Coronation of Poppea,
and Der Rosenkavalier; ensemble scenes from The Rape of
Lucretia, La Cenerentola, Don Giovanni, and Susannah
McIntosh Theatre, School of Music, 7p.m., free
Saturday, December 3
Contemporary Directions Ensemble: Music of William Albright
and Ben Johnston
H. Robert Reynolds, music director
Johnston: Diversion for 11 instruments
Knocking Piece (soloists Michael Udow, Tony DeSanza)
Solo for String Bass (Bradley Pfeil, soloist)
Albright: Harpichord Concerto (William Albright, soloist)
Pit Band for saxophone, clarinet, and piano
Rackham Auditorium, 8p.m., free
Michigan Marching Band in Concert
Crisler Arena, 2:30 p.m.
Tickets: $4, children $2 (764-0582)
Sunday, December 4
Percussion Ensemble
Michael W. Udow, director; Clifton Smith, marimba
" David McBride: "Quiet"
" Michael W. Udow: Timbrack Quartet
* Works of John Cage, Ney Rosauro, Brian Pechtl, and others
McIntosh Theatre, School of Music, 4 p.m., free
Monday, December 5
Faculty Recital: Composer-Pianist Stephen Rush
* Murders in the Rue Morgue: Rush's one-act "electronic opera"
* Three piano/dance works about power through third-world eyes
(Sandra Torijano-DeYoung, dancer)
McIntosh Theatre, School of Music, 8 p.m., free
Tuesday, December 6
University Choir
Jerry Blackstone, conductor
" Conrad Susa: Carols and Lullabies: Christmas in the Southwest
(Lynne Aspnes, harp; Christopher Kachian, guitar)
" Motets by Victoria, Willan, Grayston Ives, and Bruckner
Hill Auditorium, 8 p.m., free
Early Music Ensemble
Edward Parmentier, director
Choral works, bassoon canzoni, flute sonatas, and soprano duets,
by Tallis, Bach, Josquin, Schutz, Gabrieli, Handel, and Couperin
Blanche Anderson Moore Hall, School of Music, 8 p.m., free
Thursday, December 8
Creative Arts Orchestra
Ed Sarath, director
Improvised rap music, improvised theatre, and group improv: John
Zorn's Cobra, Daniel Roumain's Gangsta Etudes; and more
Rackham Auditorium, 8 p.m., free
I
College Night - WIQB at the Edge
WIQB's Dan Cabella will be giving away T-Shirts,,,
WCD's and more! No cover w/student ID 21+ *
.a-- -u - - --I
'4 I
FRIPAY5/5ATt
Ann Arbor's Biggest & Best Modern Rock Dance Party
J5nIhie spihdl
SPECIALIZING IN BLACK
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DOC MARTENS TRUNK SHOW
SAT. DEC 12-6 p.m.
Look over the entire
DR. MARTENS range
A.4
Thursday-Saturday, December 8-10
Dance and Related Arts Concert
Betty Pease Studio Theater, 8p.m.
Tickets: $5 (763-5460)
Friday, December 9
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