10 - The Michigan Daily - Friday, February 23, 1996 ............... Basement Arts' enjoyable 'Labor of love. By Tyler Patterson For the Daily It is difficult to comprehend, forthose of us who are mere theater-goers and not involved with the intricacies of show business, the pressure of producing a Shakespearean play. Perhaps more than any other playwrightthe performances of these plays are scrutinized by intel- lectual creampuffs like myself; they are criticized for their interpretation and "faithfulness" to the original texts. For last weekend's Basement Arts produc- tion of "Love's Labor's Lost," no such criticism is needed. The changes made by director Mar- garet Jones flowed so smoothly that after the first scene nothing was even noticeable. The set and costume de- signs had a 1920s flavor to it, and the smoking and drinking of the cast mem- bers was dealt with so well it actually enhanced their performances. The story began with three lords, Berowne (Seth Hitsky), Longaville (Ernie Nolan) and Dumaine (Paul Friedman), sharing an oath with their King (Robert Macadaeg). They swore REVIEW Love's Labor's Lost Arena Theater Feb. 15, 1996 that for three years they would remain faithful to their studies by adhering to a strict diet and avoiding women. Mischief occurs when the Princess of France (Heather Adams) visits the king on official business with three Ladies of her Court, Rosaline (Stephanie Bernstein), Katharine (Greta Enzser) and Maria (Lynette Roth). A sort of game, then, is created between the sexes as they vie for an advantage over the other. The strength of the production was the chemistry of cast, especially be- tween the aforementioned actors. The two standout performances were defi- nitely Stephanie Bernstein as Rosaline and Seth Hitsky as Berowne. Their abil- ity to hold the audience's attention and deliver comic punches were unparal- leled by their fellow cast members. This is not to knock anyone else's perfor- mance, but meant to express the ease in which Bernstein and Hitsky played off each other. In supporting roles, Elif Celebi as Boyet was more than competent. Cos- tard the Swain, played by Stacy Mayer, was often very funny and did quite a bit to lift the play in areas that might have dragged otherwise. Special praise should be reserved for Erin Galligan, who played Moth the Handful of Wit, working alongside Allison Tkac, who performed in the role of Don Adriano de Armado. Tkac seemed to struggle playing the arrogant and somewhat aggressive Armado, al- though rallying at key points. Thank- fully, Galligan delivered Tkac from her hardships with comic deliveries and an entertaining stage personality that only comes with natural ability and experi- ence. The other supporting roles were solid and did nothing to disrupt the pleasant rhythm of the play. The cast seemed to enjoy working with each other and that goodfeeling carried over to the audience. This is no doubt ac- countable to the efforts of Margaret Jones and her co-director, Nathalie Peterson. To anyone familiar with the typical structure of a Shakespearean comed happy endings when the good guys geT married and the bad guys don't are expected. In this play, however, the ending was slightly more melancholy. No one got married, and the question of whether or not these sex-starved men will find love is put off for a year. A year being too long for a play, as Berowne so aptly puts it, so the story ends. The only thing with a sense of cl sure, then, was the game played by t ladies and the men. Once the game died, the players were left in that mo- ment of sober reflection that comes after a period of shameless horseplay. I, too, was caught reflecting, after shame- lessly enjoying another Basement Arts performance. 'Chuckle' your head off at the Bling Pig The Boston funk-rock band Chucklehead makes another trip to Ann Arbor this Saturday night so you can shake your booty all night long at the Blind Pig. Chucklehead's mix of juicy guitar riffs, booming bass lines and pounding drums make their infectious grooves irresistible. After numerous trips to A-squared, the band has established itself as a local favorite that won't ever fail to entertain. Whatever type of music you like, Chucklehead will play it. Just check 'em out. Come hear what all the buzz is about surrounding this great live act. Baked Potato will open up the show. The Blind Pig's doors open at 9:30 p.m., tickets are a mere $5 and, as always, the show is for those of you ages 19 and over. RECORDS Contluned from Page 9 The Rationals Temptation 'Bout To Get Me Total Energy Ann Arbor High Schoolers many years ago, the Rationals began a small career in the decade called the '60s. This album was recorded live at the Grande Ballroom in'68 (perhaps you've heard its name whispered as the Heidelberg's is, except of course that the Heidelberg is experiencing a form of living death while the Grande is long gone). Compared with what later came out of Ann Arbor.the Rationals seem to have been a rather distasteful aberra- tion, although they bear a lot more rela- tion to today's bands than the Stooges do. In many ways aping both the Motown and the then arising classic rock sound, they for the most part end up sounding like some sort ofJoe Cocker type of deal. Well, led by extant local musician Scott Morgan (who should have taken up with Blood, Sweat and Tears when they offered him singing duties), the Rationals weren't all that special. The liner notes on the CD betray inbreeding of localized positive re- sponse and feeling that sometimes develops around certain bands for no good reason. You can sense the deep need in the notes for placing the band into some kind of context of insuffer- ably tiny people. Aging music scene +- ~ Well, the band at the very least butchers the classics "Fever" and "I Put a Spell on You." Their deep toned flailings gasp around like Morgan doesn't have enough oxygen to sing quite properly. In the end, the recording may reveal something very deep about Ann Arbor music; the annoying funk feel that is very prevalent in local bands now goes way back. And it wasn't any good then, either. - Ted Watts Bandit Queen Hormone Hotel Mammoth Bandit Queen create angry female pop-rock along the lines of PJ Harvey and Throwing Muses -song titles like "Back in the Belljar," "Petals and Razorblades," "Oestrogen" and "Frida Kahlo" make it clear that the female condition is Bandit Queen's lyrical wellspring. Like a more pissed-off Echobeliv or a socially-conscious Elastica, this British group takes loud, discordant guitars and pits them against sweet-and-sour harmonies. The aforementioned "Back in the Belljar," "Scorch," "Nailbiter" and "Oestrogen" showcase the group's witty, aggressive, confrontational side, while "Miss Dandys," "Over- ture for Beginners" and the title track of the album feature a more delicate pop sensibility. As with most politi- cally motivated groups, Bandit Queen lacks something in lyrical subtlety. But the band's energy and strong songwriting overcome this tendency. It's not easy to make music that can make people think as well as rock out, but with "Hormone Hotel" Bandit Queen does just that. - Heather Phares "Hey Tim, I loved you in 'The Rocky Horror Picture Show.' Will you show me how to be a transvestite amphibian?" Ahoy there!New Muppets delight Eat, drink, smoke and be merry with Bandit Queen. By Neal C. Carruth Daily Arts Writer Those madcap Muppets are back in the new picture "Muppet Treasure Is- land." Kermit, Miss Piggy, Gonzo, Fozzie and, yes, the Swedish Chef have teamed up again for their fifth feature film. It is a sad comment on the current spate of movies to report that "Muppet Treasure Island" is probably the best release, thus far, of 1996. The plot is loosely based on the clas- sic novel by Robert Louis Stevenson. Young Jim Hawkins (Kevin Bishop) is given a treasure map by the crusty old m M" $69 % Al Videos *1 99 f -j> The University of Michigan School of Music Sunday, February 25 Theatre & Drama Production The Male Animal by James Thurber and Elliott Nugent Directed by Hal Cooper Mendelssohn Theatre, 2 p.m. Tickets: $16, $12, $6 (students) (764-0450) Michigan Chamber Players " Beethoven: Serenade, Op. 8, with Andrew Jennings, violin; Yizhak Schotten, viola; Erling Blondal Bengtsson, cello eShostakovich: Piano Quintet, with Martin Katz, piano; Andrew Jennnings, violin; Stephen Shipps, violin; Hong-Mei Xiao, viola; Anthony Elliott, cello Recital Hall, 4 p.m. Campus Band Damien Crutcher and Tania Miller, conductors Hill Auditorium, 4p.m. Friday, February 1 Guest Master Class Cellist Crispin Campbell, Interlochen Arts Academy 2044 Moore Building, 2:30 -4:30p.m. Guest Master Class Tubist Phil Sinder, MSU Recital Hall, 5-7 p.m. Guest Recital Crispin Campbell, cello Suites for Solo Cello by J.S. Bach: Suite No. 3 in C Major, BWV 1009 sailor Billy Bones (Billy Connolly, for- merly of TV's "Head of the Class"). Subsequently, Jim sets sail with the adventurous Captain Smollett (Kermit the Frog) to seek the buried treasure. Of course, Jim initially befriends the duplicitous Long John Silver (Tim Curry), the ship's cook. But Long John betrays the crew, Jim and his traveling companions, Gonzo and Rizzo the Rat. Still, a native tribe of warthogs, led by Miss Piggy (easily the most famous film swine before "Babe"), stands in the way of Long John's plot. After a rather violent opening se- quence with a couple of shootings and singing snakes and skulls, "Muppet Treasure Island" settles into a comfort- able rhythm of self-aware, irreverent humor. For example, when Billy Bones dies early in the film, Rizzo turns to the audience and queries, "He died? I thought this was a kids' movie." The Muppets are in rare form in "Muppet Treasure Island." They have always been appealing because they never pander to the audience (unlike the lame Jim Henson creations on "Sesame Street"). They don't live a saccharine reality, but rather, they pos- sess a carefully cultivated eccentricity and crankiness. Despite this, and prob- ably because of it, they are quite en- dearing. The appearance of each well- known character was greeted with ap- plause and cheers from the children and adults in the audience Indeed, the Muppets outflank the human actors in the film. Tim Curry, ROADWA Y PACKAGE SYSTEM PACKAGE HANDLERS PERFECT FOR COLLEGE STUDENTS Saving for tuition? Find part- time work, year round at RPS! - Earn up to $8.50 per hour Roadway Package System, a small package delivery service, hires package handlers to load and unload package vans and semi-trailers. If you are not afraid of hard work, are at least 18 years old and want to work 4-5 hours per day, Mon.-Fri., we can offer you $6.50/hr. to start, REVIEW. Muppet Treasure Island Directed by Brian Henson with Tim Curry and Kermit the Frog At Showcase despite his bulging eyes and spastic laughter, appears rather restrained in his role as Long John. And when he bursts into song with Muppets, it's enough to make one yearn for the un- bridled Frank N. Furter. Kevin Bishop makes his debut in "Muppet Treasure Island." He has pri- marily done stage work in England and it shows, as he registers all emotions with exaggeration. But he does a fie job, surrounded as he is by hundreds Muppets. Billy Connolly is quite funny in the film's early scenes. He is an actor of great comic energy and appears to rel- ish acting opposite talking rats, cows and chickens. And the delightful Jenni- fer Saunders (Edina on the NBC's"Ab- solutely Fabulous") has a brief role as a tyrannical tavern keeper. She's so bur- ied under layers of makeup and paddi that I didn't recognize her at first, it's a great bit. But it's not surprising that the hu- mans are eclipsed by the Muppets. It's clear that director Brian Henson is more comfortable eliciting performances from his puppeteers than from his hu- man actors. And Henson has some trouble with pacing, as the film loses some momentum after Captain Smollett sets sail. To his credit, though, Hens n does have a good visual sense and a for large-scale, detailed compositions. Also on the positive side, special attention should be paid to the film's terrific musical score and dance num- bers, scored by Hans Zimmer ("Driv- ing Miss Daisy," "Crimson Tide"), Barry Mann and Cynthia Weil. The high point of"Muppet Treasure'island" is a surreal, Carmen Miranda-esque number called "Cabin Fever." It i s 4 sort of spry humor, appealing to b i children and adults, that keeps "Muppet Treasure Island" from lapsing into kiddie banality. JUEME- SAVINGS I