UlfeLt gkjt atig Purple night at the movies Just as we were privileged to see the classic French film, "Belle de Jour," last year, we are again blessed with the re-release of another popular piece of cinema francais. Rene Clement's 1960 film, "Purple Noon,: about a handsome young American who gets into problems when living in Europe, is running for the next few weeks at the Michigan Theater. Tonight's show is at 9:15. Wednesday September 11, 1996 6 Broadway stars rule 'U' faculty member's 'Irene' Pearl Jam comes back with 'No Code' By Kristin Cleary and Tyler Patterson Daily Arts Writers This weekend, for the first time on any stage, University faculty playwright Ari Roth's "Goodnight Irene" will be per- formed by Ann Arbor's own Performance Network. The play, which was commis- sioned by the prestigious off- PR' Broadway Man-~ hattan Theater Club, will get its preliminary AtPerfo showings at the SePt.29. lT rmar+ Performance Network before moving on the national hot bed of theater, New York City. This production marks the beginning ofPerformance Network's 15th season and certainly is a highlight in their rela- tively young history. The play, staged by nationally acclaimed director and King/Chavez/Parks Visiting Professor Gilbert McCauley, examines the histor- ical dynamics of the relationship between African Americans and American Jews and the recent changes in this relationship. In addition to the excitement sur- rounding this new work, "Goodnight Irene" will be featuring two well-known and reputable actors: Peter Birkenhead and Tim Rhoze. Peter Birkenhead plays Ethan Goodman, fledgling editor of an urban activist journal, who is driven by an interminable guilt to ease race relations. Birkenhead recently completed touring as one of the lead roles in the Broadway production of Tony Kushner's Pulitzer prize-winning play, "Angels in America." Birkenhead has worked with play- wright Roth before several years ago on a production called "Oh, The Innocents" and felt a connection with both the writer and his work. Birkenhead was very involved in the evolution of "Goodnight Irene" from its original draft form sever- al years ago to the current version of the play that will be staged this weekend. However, he says, "The play is very dynamic, which is good. It changes focus quite a bit." Co-actor Tim Rhoze has also helped transform "Good- night Irene" into :VIEW what it is today. Goodnight Originally from Detroit, Rhoze Irene began his career at ice Network through the Detroit all 663-0681 for info. Repertory Theater where he received the Detroit News Award for Best Actor 1990 in the popular work, "Fenses." More recently, Rhoze has been working out of the Goodman Theater in Chicago, where he was introduced to director McCauley four years ago. Rhoze was a latecomer to the "Goodnight Irene" team and had some initial apprehensions about his inclu- sion among his co-workers, but says: "It's been great. That stepchild feeling disappeared quickly." Rhoze is now an integral part of the production and has greatly improved everyone's experience with the play. Birkenhead said, "The experience went up a mile high, just took this big leap. Working with Tim has made it everything I had hoped it would be and everything I was afraid it wouldn't be." Birkenhead has had a long relation- ship with Roth that he thinks of as more than professional. He considers working with people like Roth the highlight of his career. Both Birkenhead and Rhoze claim that Roth is easy to work with. Rhoze says, "Ari asks for feedback, and he actually wants it!" Birkenhead says that Roth's love and passion for the play has brought it far and promises to make the production successful. The actors' relationships with By Elan A. Stavros Daily Weekend, etc. Editor Pearl Jam's fourth full-length album marks the beginning of their second effort in two years at trying to launch a real concert tour without TicketMaster. "No Code" (Epic, ***) notably displays a few of the band's recent influences. The first single, "Who You Are," belies Eddie Vedder's pairing with Pakistani singer Nusrat Fateh Ali Khan on the likewise spiritual "Dead Man Walking" soundtrack. And Neil Young's touch (from Pearl Jam's collabora- tion with his 1995 album« "Mirror Ball") These little guys a re cover. The range on the album is decent, from the wildly screeching, short "Lukin" to the story-telling, ponderous "Off He Goes." "Hail, Hail" musicy reminds one of "Vitalogy's" politie "The Whipping" while the ballad "Sometimes" recalls "Betterman." However, one could argue that by aimlessly sampling a variety of sounds. Pearl Jam is doing anything but the safe, expected rehash, es of the master- piece "T , Their unreal po ularity has become that o the masses (album and ticke sales); they're no Pearl Jam. as well- Tim Rhoze and Peter Birkenhead star In Ad Roth's "Goodnight Irene." McCauley are also positive and healthy. Rhoze describes his friendship with McCauley as "having grown immensely in the last two weeks, and now we're on a different level." Birkenhead adds, "I cannot say enough good things about Gilbert. I love the way he thinks about this play and I love the way he thinks in general about life. He's got a real big brain and a real big heart and they're working well together." Performance Network, which has made a living off of original work, has never produced anything of this magni- tude. It has never been chosen to pre- sent to the world-at-large a piece com- missioned by a reputable New York- based company. However, this produc- tion does seem to extend a theme began last year with this company by produc- ing works written by playwrights at the University. Last year "Famous Orpheus" written by Oyamo had a suc- cessful run here at the Performance Network. If chemistry is any indication then it would seem that a worthwhile produc- tion is imminent. However, there is no guarantee in the industry of theater that a show will succeed. There is risk for the small theater company who endors- es original work. There is risk for the actors who are continuously building resumes. Finally, there is risk for the playwright who with every new play and every public performance places his reputation at stake. Although, the talent assembled here for this production is certainly better than most Ann Arbor ensembles, noth- ing guarantees it will succeed. The stakes have been raised and the tension is high, and if that does not attract an audience, nothing will. can be heard on "Smile," a hard grunge rock piece. Some critics are saying "No Code" is simply a half-hearted effort to stay planted squarely in the middle of alter- native-turned-mainstream music by pretending to experiment. In one sense, they may be right: While the instrumentals are as strong as ever, if not too reminiscent of earlier work, Vedder's lyricism leaves a little to be desired - the first few times around anyway. It seems his ability grows more opaque, both audibly and philosophi- cally. When you actually can hear what he's saying, it makes less sense than usual, even with the partial lyric sheets included in the ever-creative CD pack- age. This time, the CD container is anoth- er decorated cardboard book, but it folds out with hidden pockets, exposing photos and lyric sheets on the backs of little cards that look like Polaroid pic- tures. The tape is sold in a few differ- ently painted styles - hopefully obses- sive fans won't run out and buy each type. The credits even list band mem- bers and others as apparent photogra- phers of the "144 Polaroids and black and white" photos on and inside the acclaimed by th( industry as they used to be. If they have wanted to change that, it hasn't worked Vedder obviously favors expandi his emotional range rather than con ually playing the role of Gen-X angst But never fear, he doesn't abandon hi intense social consciousness complete ly with "Present Tense" and "I'n Open." And again he addresses the fame forced on artists in the introspec tive "Off He Goes:" "I wonder 'bout his insides/It's like his thoughts are too big for his size." One thing that hasn't chan v remains the creative and strong abilia of metal guitarist Mike McReady and drummer Jack Irons - each pushes hi instrument to the limit. Stone Gossan even gets into the singing act with the punk song "Mankind." In the end, the album remains gener ally interesting and musically entertain ing. While no band can be all things t all people, though critics seem tc expect it, perhaps Pearl Jam simply isn't trying to. They've still got a to time to do better work, and they seen committed to getting there. See RECORDS, Page I ' , . M omm _ \ . ..,, .. 3 .. ,: ....A..w ,'C .x E ,. . , , ,.5._x jj ,4. ' '.