''' K I lI i#I i ltC IU.~ i(vu u EY. . l~l[Page 5 aattention; following in the footsteps of the likes of Jackopierceadtie Monday, Samples. Catch the Thugs while they're still obscure tonight at Ricks.ay 6, 1995 February b 'erk'dials a wrong number rggg gyglrl By Prashant Tamaskar Daily Arts Writer A few years ago, when Johnny Brennan and Kamal, two childhood friends from Queens, N.Y., decided to release a tape of prank phone calls that they had made, even they couldn't have possibly imagined the success that it would have. After all, what kind of interest could there be for a couple of guys whose only talent is the ability to harass people on the telephone? Plenty, as evidenced by their impressive record sales and sub- sequent Grammy nomination. How- ever, the Jerky Boys, as they are known, expose their limitations by starringin an absolutely terrible movie that will have even the most loyal of fans cringing. One of the mistakes of this film is that there is actually a plot. The *story starts with Johnny and Kamal being questioned by police for their involvement with the mob. The movie flashes back from there to show how they got caught in this mess. The Jerky Boys, who are job- less, meet an old classmate who is making a fine living working with One 'Way' *!ticket to good theater By Robert Yoon Daily Arts Writer Death has never been a popular conversation topic for fun-minded in- dividuals. Thus, one would think that a play which focuses entirely on the dete- rioration and impending death of a loved one would be far too maudlin and gloomy to succeed as entertainment. Jay Stielstra's "A Better Way to Die," which debuted Thursday at the Performance Network, bravely attempts A Better Way to Die Performance Network February 3, 1995 to tackle the weighty issues of aging and dying, but does not leave the audi- ence overly depressed. It is an artful production that powerfully explores an issue that everyone must face. The principle characters are Meg Osgood (Tracy Lee Komarmy), a so- phisticated drama critic in her mid-40s, and her husband Will Cornell, acrabby sportswriter 15 to 20 years her senior. The couple is faced with the terminal illness of theirclose friend Tom, aformer NFL star devastated and weakened by cancer. Tom's impending death provides a Wackdrop for the play, and affects each character differently. Itprompts Meg to look at her husband in a different light: she realizes that he is not just her hus- band, but a 61-year-old man, who is already showing some signs of aging. For Will, the issue is much more per- the Mafia. When he won't help them get a job, they decide to take matters into their own hands and call his superior. Johnny, pretending to be Frank Rizzo, a fictional crime boss from Chicago, manages to get the New York mob to employ his men (Johnny and Kamal). However, the REvltW The Jerky Boys Directed by James Melkonian with Johnny Brennan and Kamal At Showcase Another of the problems this film has is that the Jerky Boys' humor simply cannot work in a visual for- mat. It just really isn't funny when they're being obnoxious to people's faces instead of on the phone. And Jerky fans who are familiar with the "Egyptian magician" routine will be disappointed when they see Kamal physically acting this out, and not just doing the voice. Moreover, this film will almost be insulting to those who find the Jerky Boys slightly amusing, and to those who are not very fond of them. At least their tapes are humorous by pre- senting situations that place the per- son on the other end of the line in an awkward position. But the movie does not do this. Rather, it has Johnny and Kamal recite Jerkyisms such as "sizzle chest" throughout the whole movie, and relies completely on their ability to create various idiotic phrases using a wide range of voices that hopefully someone will find funny. Truly, this is junior high humor at its worst. Finally, what makes it unbearable is that the bad guys are more likable Jerky Boys quickly manage to an- noy the crime family into wanting to eliminate them. Moreover, the price on their head drastically in- creases when they discover that the mob is paying off the NYPD. Thus, when the police do arrest them for associating with the crime family, they are even in bigger danger. The rest of the movie deals with the roenin ion rthise onuinco rnnflict- Sometimes 1 think I'm an actor, but that's beside the case. Maybe MTV's cab driver will get a movie deal too. this movie one hopes that the mob rubs out the Jerky Boys - it's diffi- cult to enjoy a film that has you hop- ing that the protagonists die. Hopefully, this sorry excuse for a film will mark the end of the Jerky Boys, and their ridiculous brand of comedy. Unfortunately, some of their ideas are kind of funny, but their abusively obnoxious delivery wears thin real quick. Yet, as long as there is amarket for their tapes, they'll still be around. And unfortunately, as long as they're popular, there is always the threat of a sequel to this film. Cleveland Orchestra scores with creativity sonal. After seeing his friend confined to a hospital beds and "full of tubes," Will thinks to himself that theremust be "a better way to die." Thus we have the basic premise and the title of the play. Will com- pares the prolonged and painful death that his friend must endure to the peaceful and "better" end that his dog Rosie experienced when she was af- flicted with a similar ailment. But the play skillfully avoids taking a stance on the highly-debated issue of eutha- nasia. Although the play seems slightly tilted in favor of mercy kill- ing, it falls short of wholehearted en- dorsement. The main focus of"A Better Way to Die," however, is not euthanasia, but rather the changing relationship between Meg and Will. Meg starts out as a woman who is in control of all aspects of her life. But Tom's terminal illness, coupled with Will's fading memory and erratic behavior serve as painful reminders that she cannot control ev- erything. She too faces the possibility of widowhood.Will's inexplicablepur- chase of a handgun further emphasizes Meg's loss of control. She and the audience are left to ponder Will's moti- vation - suicide? euthanasia? The an- swer is not as important as the pain and anxiety that Meg experiences in trying to find the answer. Tracy Lee Komarmy has the diffi- cult task of portraying Meg. Appear- ing in almost every scene, Komarmy has to show the psychological changes in Meg without ever leaving the stage. On the stage, attempts to show such subtle changes without seeming cartoonish can be difficult, but Komarmy does so with poise and dignity. David Bernstein also logs a pow- erful performance with his portrayal of Will. Potty-mouthed and irascible, Bernstein's Will is a cross between See BETTER WAY, page 8 By Brian Wise Daily Arts Writer Over the past decade, Christoph von Dohnanyi has restored and revi- talized the Cleveland Orchestra. He now helms one of America's great -VThe Cleveland Orchestra Hill Auditorium February 3 and 4, 1995 flagship ensembles - New York, Boston, Philadelphia and Chicago being the other likely contenders. Dohnanyi has tempered the flamboy- ancy and harshness of his predeces- sor Lorin Maazel while valuing the depth and substance that the orches- tra developed under the 24-year reign of George Szell. Friday and Saturday night concerts at Hill Auditorium illustrated these fea- tures with programs linking the Ger- man legacy ofBrahms and Schoenberg. An irreverent parody of this legacy and its musical conventions was provided in a short work by the contemporary Russian composer Alfred Schnittke, entitled "(K)ein Sommernachtstraum" or "(Not) A Midsummer Night's Dream" to open Friday's program. While Schnittke commanded the audience's attentions with his eclectic traversal of classical genres, Schoenberg issued these commands through virtu- osity and emotional intensity in the Chamber Symphony No. 1. This sel- dom-performed work is among the most rigorous and demanding in the modern repertoire. The 15 soloists grasped its blistering tempos, expansive range and penetrating dynamics with poise and focus. Attacks were so clean and nu- anced that even the densest textures spoke with clarity. Dohnanyi closed Friday night's program with a sturdy, burnished ac- count of Brahms's First Symphony. The blend and uniformity of ensemble was excellent, particularly in the hym- nal chorale portions of the fourth movement. Opening Saturday night's install- ment was the Schoenberg arrange- ment of Brahms's Quartet in G minor for Piano and Strings. Schoenberg professed to have remained strictly in the style of Brahms in this re-scoring for full orchestra, only realizing its inherent possibilities for new timbres. The high-voltage conclusion was among the most inspired moments of the weekend. Emanuel Ax performed the First Piano Concerto in D minor following intermission. Ax has long been a pas- sionate exponent of Brahms, and in more recent years Schoenberg. The stylistic connections between the two composers were made more apparent by the violent tensions and tonal am- biguities of the concerto. Ax is a communicative performer above all, always responding and in- teracting with the orchestra and con- ductor. This is an important quality for the D minor concerto, as the solo- ist and orchestra tend to interact rather than compete against each other. Brief question-and-answer dialogues with the cellos were executed with exact- ing precision. Ax's tone was full and heroic in the series of baroque-like figurations in the cadenza of the fi- nale. The frigid conditions outside seemed of little consequence during the warm, glowing performances that evening. I MEDICAL CAREERS SAAR INTHE AIR FORCE. There are many direc- tions your medical career can go. But only the Air Force gives you so many unique advan- tages. A medical environment that truly focuses on patient needs...con- tinuing educational opportunities now and throughout your career... the respect and status of being an Air Force officer. Plus excellent com- pensation and benefits, including 30 days vacation with pay each year. Call USAF HEALTH PROFESSIONS TOLL FREE 1-800-423-USAF University oe 5365S. 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