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. ~CookISAY IT WITH COOKIES Holiday bouquets and gourmet cookies ~kies by Desi Personal messages written "'The Sweetest on cookies "ouq"et Delivery anywhere in the USA iD'reowlt Corporate accounts available Ir-oi, rh nn tr Boring characters, melodrama give School of Music's 'Ladyhouse' the blues 0 995-1634 2026 W. Stadium (across from Post Office) Ann Arbor VISA CredittCaras acceptea r ------------ ---------, GOURMET COOKIE On your next visit Tlnn i hicCma 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 m Bring in tns Csioupon Expires 12/1/97 I _ r'1 Experience a midday break where you'll discover' ageless timeless tools for connecting with yourself while releasing counter- productive stress -I Put afresh breeze into your day stretch your body and relax your mind exchange ro 'tess for HEIG AED AWARENESS 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 for ENERGY AWAKI i anxiousness for IMPROVED CONCENTRATION Tuesdays 12:10pm-12:50pm First Congregational Church State St. and E. William No Religious Affiliation 663-37"5 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. changing rooms available I F_ Fundraising Publicity Sc'e4 se&edat leadership development Are these things your student organization is trying to accomplish? Get advice and help from the office of Student Activities & Leadership. We offer walk-in advising during these convenient hours: . ... .....