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November 24, 1997 - Image 10

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The Michigan Daily, 1997-11-24

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10A - The Michigan Daily - Monday, November 24, 1997

Return of the Mac'
'70s supergroup reunites for intoxicating 'Dance' at Palace

Adam Sandler tees off In "Happy Gilmore."

SANDLER
Continued from Page 9A
Kudos to the crowd for showing up.
4,000 patient yet enthusiastic fans
braved the cold - and a half-hour
delay - to see him, shouting cheers of
"Go Blue" and singing "Hail to the
Victors." One guy in the first balcony
even brought a cow bell to keep the
crowd occupied.
As Sandler started his show off with
the title song from his first album,
"What The Hell Happened To Me?," it
was evident that he was wasted. But
Sandler continued on, diving into
"Hanukkah" with a sense of purpose.
The crowd roared its approval; it was
arguably his finest moment of the
evening.
Contrary to the crowd's reaction,
Sandler seemed to quickly lose his
momentum, as he dove into a song con-
cerning fat people and human body
parts. This was definitely the lowest
part of the 60 minutes. "The Goat
Song," which can be found on his new
album, had some class, but seeied all
too disjointed when performed. The
stuffed goat that he brought on stage
was a nice touch, though.
But Sandler continued his raunchi-
tiess, lacing even his final two songs,
"Red-Hooded Sweatshirt" and

"Thanksgiving," with four letter words.
But "Thanksgiving" was fun, as
Sandler adeptly rewrote the final verse
to give the University of Michigan a
large pop against Ohio State.
For the students who shelled out
the money to go see this man, my
sympathies are offered to all of you.
This was definitely something to look
forward to, and Sandler partially
came through, but he was way too
inconsistent. There were no perfor-
mances of "Lonesome Kicker" or
"Lunchlady Land."
These are all songs to which we as
listeners have so faithfully listened. Mr.
Sandler, you owe the fans something,
perhaps another half of a concert, per-
haps their money back.
As Sandler said at the end of his con-
cert, "Just do your best in school, and if
you get a bad grade don't worry about
it. I didn't do very well in school and
I'm a millionaire." Well, just because he
has a fat wallet, doesn't mean he should
desert his fans.
Adam Sandler ripped off
University students. While Sandler is
a very funny man, he and his short-
lived, raunchy show couldn't compete
with the highlight of the evening:
Blur's "Song 2," which played over
the loudspeakers as the fans exited
Hill Auditorium.

By Bryan Lark
and Jennifer Petlinski
Daily Arts Editors
After leaving years of romantic and narcotic bag-
gage behind, Mick Fleetwood, John McVie, Christine
McVie, Stevie Nicks and Lindsey Buckingham made
a collective decision last summer - against going
their own ways.
Now 10 years and a trail of not- R
so-successful solo careers laterR
the Mac is back for their 1997 Fle
Reunion Tour.
Returning to the Palace of The Palace
Auburn Hills on Friday night,
Fleetwood Mac brought back the
high feelings of their late '70s heyday to a nostalgic
crowd, while winning over scores of new fans with
their infectious latest effort, "The Dance."
With its mix of hits and new tracks, "The Dance"
provided the ideal outlet to bring the five band mem-
bers back together, to once again link the tattered and
worn chain between each other and between the band
and the fans.
And Fleetwood Mac proved those links were
stronger than ever as they kicked off the show
with an anthemic rendering of "The Chain," off
their breakthrough 1977 album, "Rumours." As
the only song all five have written together, "The
Chain," if they continue performing it with such
intensity, will keep them together for many years
to come.
Following their energetic opening, Fleetwood
Mac launched into a 2 1/2 hour set structured
around "The Dance." Staying true to the album's
numbered tracks, the group performed an intoxicat-
ing rendition of Nicks' "Dreams," before rollicking
into keyboardist Christine McVie's happy yet dis-
turbing "Everywhere," a toe-tapping ode to stalk-
ing.
After a few more songs together, the members
of Fleetwood Mac were themselves everywhere
for the rest of the evening - performing in shifts,
each going on and off the stage nearly as many
times as they've hopped into the sack with one
another.
While Stevie Nicks changed her infamous shawls,
for instance, '70s sex symbol and guitar genius
Buckingham sent hearts beating with his "Big Love"
and "Go Insane," a solo hit - songs he performed
with an acoustic guitar and his fast-moving, adept fin-
gers.
Halfway through the show, Buckingham engaged
drummer Fleetwood in a heated duel of instruments
and presence. Buckingham, armed only with an elec-
tric guitar, was matched riff-for-riff by Fleetwood's
electronic-vest synthesizer and demanding, incoher-

.E
(e

ent warblings.
But these electric solo performances were not the
sole highlights of the evening.
Prior to the Buckingham/Fleetwood tangent,
Stevie Nicks took control for her hypnotic "Gold
Dust Woman," which hauntingly recounted the dark
days of her cocaine addiction.
In another tantalizing
" j Emoment, Nicks performed her
early '80s smash, "Gypsy,"
atwood Mac sending a magical spell over the
audience. With her throaty
Rf Auburn Hills vocals and her graceful, flowing
Nov. 21, 1997 dance moves, Nicks proved she
still has what it takes.
The band put a new twist on Christine McVie's
old "Say You Love Me," which required the five
to come together at the front of the stage to carry
the song's delicate harmony. Bassist John McVie
was allowed to momentarily shine, instead of
cowering in the corner, by strumming his banjo
with vigor and playfulness. Christine McVie's
solid vocals pierced through a crowd of thou-
sands as she confessed her need to hear those
three little words.

Broken up years ago by Buckingham's hesitan-
cy to say those words, former super-couple Nicks
and Buckingham were reunited on the lush, emo-
tive "Landslide," which Nicks dedicated to the
fans for allowing the band to "get older, too."
But on Friday night, the members of Fletwo
Mac didn't show their age, as they tore into a hare-
rocking track from Nicks' solo career, the pulsating
"Stand Back." Keeping the crowd aroused,
Fleetwood Mac brought new tenacity to the sexual-
ly charged "Tusk" (Fleetwood's endearing term for
the penis), the message-driving "Go Your Own
Way" and President Clinton's favorite, "Don't
Stop."
Concluding a night charged with the confrontation-
al "Silver Springs," the danceable "Temporary One"
and the dreamy, tempo-shifting "Rhiannon," Christi
McVie added a soaring rendition of "Rumours"' del
cate "Songbird," in which she croons: "I love you like
never before."
Fleetwood Mac played like never before at the
Palace - energetic, happy, inspired, together.
With their strong, charismatic performance and
renewed link, Fleetwood Mac assured fans that they
"would never break the chain."

:3*
'9

Fleetwood Mac is back for their 1997 Reunion Tour: Mick Fleetwood, Undsey Buckingham, Stevie Nicks,
Christine McVie and John McVie.

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Boring characters, melodrama give
School of Music's 'Ladyhouse' the blues

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By Tracy Jacobs
For the Daily
The University Production's pre-
sentation of"Ladyhouse Blues" made
a strong effort to translate a relatively
stagnant script into a lively exhibition
of the female spirit.
What the show-
lacked in story- R
line it made up s'

her flock of daughters float through
the action of the play, displaying their
personal grief like badges of courage,
generally making each other miser-
able. The audience is meant to see
that each woman's strengths are just
as prevalent as her weaknesses. The
family structure

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for in character; :
but in the end, it
felt as if the Mend
whole production
was trying just a
little too hard to keep the audience
interested and the characters acces-
sible.
The emotional aspects of the dia-
logue also left a lot of room for over-.
statement and exaggerated action.
Keeping a show that has no true
action interesting is never an easy
task, but the cast of "Ladyhouse
Blues" seemed to try to fill up the two
hours of dialogue with emotional
strain and extreme states of mind that
didn't feel like they belonged to the
original plot.
Taking place in St. Louis in 1919, the
play's action is confined to a kitchen
brimming with grown daughters
who've come home to reside under the
wings of a protective mother.
The house, and show, are utterly
devoid of men after the only brother has
left to serve a term in the Navy.
The dominant mother figure and

EVIEW
yhouse Blues
lssohn Theater
Nov. 20, 1997

keeps each
woman going.
The purpose of
the play is to show
how difficult it is
to be a woman in
any stage of life

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within a changing world.
The transitions defined by the
changing mores of womanhood are
displayed as impossible to adopt
- for the steadfast mother who
makes a life out of dwelling in the
past.
Meanwhile, the modernization
of the times slowly seeps into the
mother's house through the veins
of her young daughters, as they
experiment with breaking bound-
aries and explore the new roles a
woman is allowed to portray in the
world.
Each actress seemed to have a strong
grasp of her character, but for a play
based on the family dynamic, the cast
seemed to lack cohesiveness.
All the characters spoke in thick
Southern accents. Although the
accents functioned well to develop
character, they made the dialogue a
little tough to understand.
The staging worked well to allow
each character's flow of action its
own development and space - but
maybe a little too well - because it
felt as if each character were per-
sonally withdrawing and focusing

on herself rather than the action
going on around her.
The strong presence and control
brought to the character of Terry
(Sophia Brown) made her .courage
and independence seem natural and
without constraint.
Terry becomes a centerpiece by
which the audience is able to gauge
the true severity of any action. The
intelligence displayed in her eyes
became a focal point to which the
audience was drawn again and
again.
Helen (Amanda Miller) present-
ed a convincing picture of despair
and impending death. Wandering
about the stage like the shadow of
death itself, Helen's seeming
omnipresent despair gave the stag-
ing depth and flavor.
Angela Lewis as Eylie, Dana
Dancho as Dot and Gabrielle

Brechner as Liz rounded out the cast,
each making her character expressive,
yet a tad melodramatic.
Still, each character was individual-
ly well portrayed. If only the charac-
ters could have connected with each
other on the stage the way they di*,
with the audience, the familial themes
of the play would have come off a lot
stronger.
The difficulties of a show with a
single setting and minimal action are
all too apparent. The script seemed to
call for a more low-key examination
of female dynamics in a changing
world.
The whirlwind of emotions dis-
played in the University produc
tion made the audience feel as
they had just spent two hours vis-
iting with a pack of Southern
women with cabin fever and quick
fuses.

"Ladyhouse Blues" failed to inspire the crowd at Mendelssohn Theater.

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