8 - The Michigan Daily - Monday, March 27, 1995 'Still / Here' thoughtful and inspiring dance By Kimberly Braton For the Daily Thepremiere of Bill T. Jones' "Still/ Here" was definitely not your average dance concert- not that there is such a thing - but the performance this past weekend definitely gave the audience their money's worth and then some. The full-length evening work was an inspiring and thought-provoking mul- timedia experience in which Mr. Jones posed his audience with several diffi- cult questions. What does it mean to be told the cancer has spread? Whatdoes it mean to know that you are afflicted with the HIV virus? These questions and many others surround the issue of dealing with mortality in the face of a terminal illness. Hence, the title of the piece is "Still/flere." The first part of the dance, "Still," began with the ten company members dressed in pastel costumes. Surpris- ingly, the dancers were radically dif- ferent in shapes and sizes and this variation in physicality made the piece even more exciting. The dancers re- cited words from the victims oftermi- nal illnesses and the movement was based on the victims' contributions made in the survival workshops Bill T. Jones offers worldwide. Huge k:- Bill T. Jones/ Arnie Zane Dance Company Power Center for the Performing Arts March 24 and March 25, 1995 monitors accompanied the dancers and displayed images from these out- reach workshops, while the music consisted of an original composition by Kenneth Frazelle and was sung by legendary folk singer Odetta. The use of dramatic red and blue lighting continually built the intensity. But the special effects were really no match for the amazing abilities of the dancers themselves. There were only a few times when not all dancers were on stage. This tremendous display of en- ergy left the audience exhausted, won- dering how the dancers could maintain this level of intensity throughout the evening. One does not need to be a diehard modern dance fan to recognize the technical excellence and dynamic artistry exhibited by the performers. "Still/Here" leaves one with aprofound appreciation for this visceral art form. The second section, "Here," pri- marily focused on the celebration of life and the encouragement to live each day to the fullest and not wait until an illness strikes. As Jones said in a lecture / demonstration given at the University's Dance Department earlier this week, "the piece is made to sound the warning bell." The dancers were dressed in vi- brant shades of red and were accom- panied by a composition with dia- logue by Vernon Reid, formerly of Living Colour. The dialogue came from the survival workshops and at times had a slightly humorous twist. The dancers proved themselves to be athletes, gymnasts and "defiers of gravity." As one of the victims said, "I'm stepping in and out of reality." Well, audience members nearly had to pinch themselves when they saw the unbelievable movements that the dancers were executing. The piece ended with the dancers still moving in a circle as the curtain came down, signifying that life goes on. As the performance's conclusion asked, "What's the last thing you see and the last thing you say?" "Awe- some," I say, "'Still/Here' was awe- some." 0. 0 'Still/Here' reflects the Intense experiences of the terminally 'Claiborne' slow, stupid and dull By Joshua Rich Daily Arts Writer "Dolores! Dolores! Come on out, you bitch," scream a gang of pickup truck-riding teenagers in "Dolores Claiborne," the latest film adaptation of a Stephen King novel. Unlike King stories of the past, however, this movie lacks both the horror and suspense that have made the so-called King of Horror such a popular draw at book- stores and box offices alike. Instead, "Dolores Claiborne" is a slow-paced, melodramatic character study of a stubborn old woman who constantly finds her- self amidst a torrent of problems. Set against the dark, colorless winter of a small Maine resort island, the film lacks color not only in its photography but also in its exaggerated characterization and banal plot. Although the audi- ence is initially led to believe that it will be a genuine thriller, our interest slowly dissipates as the predictable story unravels and its annoying unsolved mystery re- mains. Haunted by the mysterious death of her alcoholic and abusive father 20 years before, Selena St. George (Jennifer Jason Leigh) is summoned back to her home town on an island off the coast of Maine. Her grouchy mother, Dolores Claiborne (Kathy Bates) has, as was the case when her father died, been accused of causing the ap- parently accidental death of her crippled and cranky employer, Vera Donovan. Tracked by the pesky local sher- iff (Christopher Plummer), Selena and Dolores - reunited after 18 years - spend the rest of the film fighting with the law and between themselves, as they try to remember the past and let the truth emerge. Thus, the film is mostly composed of flashback sequences of times when the evil father (David Strathairn) abused them and Dolores struggled to earn a living as the head Dolores Claiborne Directed by Taylor Hackford with Kathy Bates and Jennifer Jason Leigh At Briarwood and Showcase maid of Vera's pristine household. Immediately problematic is the abundance of complex characters. Even though director Taylor Hackford centers the movie around Dolores and her troubles, it too frequently gets tied-up in the psychosis or antics of other members of the cast. While Dolores remains the film's cen- tral figure, her importance to the plot is diluted by the presence of so many other characters. As a result, "Dolores Claiborne" emerges as an unconnected mish- mash of personalities who spend the duration of the movie behav- ing in ways irrelevant to its cen- tral plot. Further, the plot not only has no reliable characters upon which it may be carried, but it remains slow, purposeless and stupid. King uses domestic violence as both a launching pad and a scapegoat for all the traumas which occur within the story. Consequently, he re- duces this very real American problem to the levels of a cheap horror movie device. This makes a mockery of any woman who has attempted to oppose spousal abuse. Left with impotent charac- ters and a story line that is neither interesting nor original, the audi- ence must sit through a long and meandering movie that never de- livers its prescribed thrills. Unlike her thrilling Academy Award-winning role in "Misery," Bates fails to make Dolores both the frightening housewife and sympa- thetically troubled woman that the aforementioned Annie Wilkes was. In fact, the only truly scary charac- ter in this film is the father - as supplied by talented character actor Strathairn who sparkles in light of the fact that he usually plays kind and gentle men. These two are sup- ported by a cast of actors who give average performances - most no- tably the usually substandard Leigh - and who repeatedly annoy us with their artificial melodrama and overstated New England accents. But what lingers most in this weak cinematic concoction of blood and tears is a line repeated three times in the film. Attempting to en- capsulate the meaning of what hap- pens to her, Dolores says, "Some- times being a bitch is all a woman has to hold on to." True enough. And yet after considering the now tarnished resume of the talented Bates, I only wish she had a decent movie in her grasp as well. The Holy Cows Get Along Big Pop The Midwestern countryside brings forth its own brand of folk- hero musician who confidently steps out of the wide-open plain, sure of self and even surer that the world is out there to conquer (if, sometimes, the world is the closest bar, then that's just fine with him). From John Mellencamp to the Replacements, artists can comfortably develop their own sound according to their own world view of the country land - freed from the constraints of the New York art world and the Los Angeles showbiz glitz. Chelsea's Holy Cows sound so certain of who they are, having struggled through the Ann Arbor music scene for over five years - all the while breathing that particular midwestern, working-class air-that their songs become possessed with unflinching power and confident subtlety. The band's third album, "Get Along," sounds ready for Superstars Inc., not Big Pop Records, a fresh indie label out of Philadelphia. The Replacements is the obvi- ous reference point in extracting the origins of the Holy Cows' sound. But the Replacements have always been viewed as a truly gifted songwriter in Paul Westerberg, who had three other capable backers. The Holy Cows, however, are a strict unit, and their sound becomes im- bued with more focus or direction. From the catchy, country tap of "Welcome Back" and "Hate the Phone" to the tilting and whirling rockers "Wait a Minute" and "Through the Keyhole," this stun- ning record typifies what's so bril- liant about growing up in the Mid- west - peace and quiet unless you want to make noise, and then, damn it, you'll make your shouts heard! The Holy Cows are ready to graze upon the pastures of America. Get along and prepare yourself. - Matt Carlson Quicksand Manic Compression Island Minimalism in rock sounds easy to do but is rarely accomplished. While other bands overdub and sample their albums to a sonic death, Quicksand gets more effect from a simple bass line or a great guitar riff, Imagine Nirvana's ability to do start/stop, slow-fast-slow song struc- tures without the overproduction, and it approximates the melodic hardcore on Quicksand's newest release. Credit producers Wharton Tiers and legend- ary punk knob-twiddler Don Fury for allowing the band to let the songs work on theirown, instead of blowing it up to a Def Leppard-goes-hardcore level (hello, Butch Vig). Hey, it's moody and dark in their low-fi world. Every song seethes neu- rosis and relationship-gone-wrong angst, from the line "trust, bliss, date, faith, hate share it all with you" in "Blister" to "I trust new friends just like I can throw them" on "East 3rd St." Unlike Helmet, (who the band is unfairly compared to) Quicksand has7 a consistent lyrical bent that makes them muchmore interesting on repeat listens. Oh yeah, and it rocks. Not in that Ted Nugent kind of way, and aren't we all thankful for that? More in a cerebral way. Thoughtful moshing. - Kirk Miller Bruce Springsteen Greatest Hits Columbia Released partially to capitalize on the success of "Streets of Philadel- phia" and partially to buy Bruce Springsteen some time as he records his new album, "Greatest Hits" doesn't answer any of the lingering questions about whether the Boss' glory days are behind him. Sadly, it * seems to suggest that, at the very See RECORDS, page 9 Student Organization Rccounts Service [SOBS] General Fund AccountrConversion Beginning September 1, 1995, and running through September 30, 1996 SOAS General Fund (GF) Accounts will undergo a conversion. As a result of this conversion, student organizations can either choose to convert their GF account to what is now referred to as a "University Fund" account, or to close the GF account and remove the funds. All accounts remaining after September 30, 1996 will automatically be converted into an SOAS Account (UF). Open forums will be held to provide information. and answer questions on: " March 30.1995.at 3pm-4pm,.Michigan Onion [Wolverine Room] " Rpril.11, 1995.at 4pm-Spm. Michigan Union [Anderson 8 Room] " September 25,1995at4pm-Spm,.Michigan Union (Wolverine Room] " September 28,1995. at 3pm-4pm. Michigan Union [Wolverine Room] If you have any questions, please feel free to stop by the SOAS office or contact an SOAS Representative at 763-5767. Our office is open Monday through Friday, 8am-5pm. We will be happy to serve you! 01 HISTORY CONCENTRATORS - SENIORS Sign-up for Fall Term 1995 Colloquium will be Monday, March 27,11-5 P.M., in 4633 Haven Hall. (Placement by seniority; No need for early arrival.) Quicksand, being sucked in by their own magnetism. I Please return March 31 the Daily 420 Mayna 48109. 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