T;ne Campion's "The Piano" screens today at the Michigan
Theater. Holly Hunter and Anna Paquin won Oscars for their per-
formances as a nother and daughter left on a beach in New
Zealand with their piano for an arranged marriage. don't miss
"The Piano," one of the most critically lauded films of recent
years, today at 4!10 p.m. Admission is $5.

Litct~tnal

* Don't miss the latest edition of Breaking Records, a run-
down of the week's music releases, including the newest CD
from Pure.
Monday
April 13, 1998

'Rent' measures seasons of love and loss for Gen Xers

By Christopher Ikaczyk
Fine / Performing Atts Editor
"Will I lose ray dignity?/Will some-
one care?/ Will 1 wake tomorrow,/ from
this nightm4re?" These resounding
words ignite the benevolent passion that
ties human nature with sorrow. A gener-
ation is dying far before its time, and
$thing can be done to stop it. The
plague that is taking over society is
AIDS, and the young free spirits of
Generation X make up the riskiest
group out there. The only thing slowing
the virus is time.
"Rent" is the most popular musical to

Rent
Fisher Theater
April 9 through
June 14, 1998
Its two-month run

hit Broadway
since "A Chorus
Line." It is a cul-
tural phenome-
non because it
deals with sur-
vival in a dying
community, it's a
celebration of life
and of living.
"Rent" is the
latest musical to
win the Pulitzer
Prize (not a com-
mon occurrence).
The show began
at Detroit's Fisher

Larson in 1991, and didn't begin work-
shops until 1994. The music is entirely
modern with rock inflections. The most
amazing feat of the show, according to
seasoned critics, is that the story is
based upon Puccini's "La Boheme," an
opera written more than 100 years ago
and set within the Bohemian district of
Paris.
"Rent on the other hand, is set in
New York's East Village, an area com-
monly described as a modern artistic
community composed of Bohemian
Gen Xers.
The story of "Rent" follows a group
of friends through a period of one year.
Four of the seven are battling HIV, rela-
tionships develop and dissolve, and the
meaning of life is discussed. The effect
of the musical is overwhelmingly emo-
tional because it makes young people
examine their lives and makes them
realize the importance of having both
an identity and an impact on those lives
around them.
The cast of the national tour stopping
in Detroit is warmly erotic. This cast is
not like the original Broadway cast,
something that is often attempted with
national tours. But each actor has made
provisions to make a character his/her
own, it is nice to see such fresh perfor-
mances. With "Rent," the rawer the per-
formance, the more realistic the story
will become.
An amazing interpretation of Roger,
the songwriter, was given by Manley
Pope. His strong vocals brought the
most energy to the production. Pope's
performance of "One Song Glory," a
song about love, was overwhelmingly
outstanding. It's unfortunate that he will

stopped the show with her performance
art interpretation of "Over the Moon."
Her wacky, yet dippy persona made a
comedian out of Maureen. Keaney had
the audience mooing with particular
delight.
Even one grandma was spotted low-
ing. Keaney helped contribute to the
powerful duet "Take Me or Leave Me"
with Joanne, played skillfully by classy
Sylvia MacCalla. Both women are nat-
ural belters and the duet turned from
mighty ditty into a massive song alter-
cation, in B major.
Especially poignant and moving was
the performance delivered by C.C.
Brown as Tom Collins. Brown's deep
baritone brought tears as he sang "I'll
Cover You," in tribute to his recently
lost love. His fresh voice gave way to a
plethora of emotions, and brought his
group of friends back to a moment of
reality during their sad state of grief.
The supporting cast served their pur-
pose, but nothing more. It seems that
the producers of this "Rent" wanted
fresh young performers with
little or no experi-
ence.
At times, the
supporting play-
ers seemed to
rush through their
scenes, without giv-
ing particular con-
centration to enuncia-
tion or clarity. Many
of the show's main
theme lies within the
vignettes that involve the
background homeless and
drug pushers. Without understanding

what it is being said entirely, an audi-
ence can lose pertinent insight into what
"Rent" is all about.
"Rent" is moving because you can
fall in love with the characters. Not only
do they become your friends, but you
want to see them survive. Simply put,
"Rent" is like great sex - it's with
someone you love, and it lasts for hours.
Missing out on "Rent" is like remaining
a virgin for the rest of your life.
"Rent" explicitly explains what can
be done with this gift called "life."
Each of us are given the same amount
of time to become great.
For "Rent"'s creator, Jonathan
Larson, this means that we are all given
525,600 minutes each year to contribute
to the world. Larson's life was cut short
the night before "Rent" opened at the
NYTW when he suffered to an aortic
aneurysm.
His contribution to life ended when he
was 35, but his art
lives on. Larson real-
ized and lived his
message. "There's
only us / There's
only this / Forget
regret or life is
yours to miss
... there's
only now /
there's only
here / give
in to love/
or live in fear /
No other path / No other
way / No day but today."
- Ticketsfor "Rent "can be purchased
far performances through June 13 by
calling Ticketmaster at (248) 645-6666.

Courtesy of Nederlander Organization
Adam Pascal and Daphne Rubin-Vega, who originated the roles of Roger and Mimi
in "Rent," get a little closer. The touring company of "Rent" is now a little closer
to you, appearing at Detroit's Fisher Theater.

Theater on April 8. Its popularity has
demanded sold-out performances ever
'since the show transferred from off-
'Broadwayl New York Theater
Workshop to the Nederlander Theater
on the Grcat White Way. Most of its
popularity can be explained by the
attention it gives to creative expression
among today's young adults.
*The musical was written by Jonathan

be leaving the cast on April 19, as was
indicated in the Playbill.
The character of Mark is supposed to
be weak and timid. Christian Anderson
brought just those qualities out of his
character, making for a heartfelt and
trusted narrator. Anderson especially
shined during the Act I finale, "La Vie
Boheme," in which the cast chants
through a list of the people and things
that make the history and life of the
Bohemian so enigmatic. "To leather, to
dildos, to curry vindaloo / To Huevos
Rancheros and Maya Angelou ... To

sodomy / It's between God and me / To
S&M / La Vie Boheme."
A rather limited performance was
delivered by Evan D'Angeles as Angel,
the show's drag queen. D'Angeles
seemed too shy and lacked the drive
that makes Angel such a spectacle. He
simply carried through the motions
without giving the character depth or
distinction. Angel is supposed to be a
drummer (hence the two drumsticks the
character carries around). It would have
been nice if this Angel had rhythm.
Erin Keaney, as Maureen Johnson,

'Love Boat' far from
exciting and new

Shomari and Sean catch up with Cappadonna

y C ris Cousino
aailyAts Writer
Fire up the engines, pull up the
gangplank and batten down the hatch-
es! The boat that's "expecting you" is
about to set sail again. But this "excit-
ing and new" Aaron Spelling cruise
hasjio Captain Stubing.
fielmed by Captain Jim Kennedy,
Ill, played by "Spencer For Hire" star
Robert Urich, UPN's "Love Boat: The
ext Wave" embarks on its pleasure
trip with the premiere episode tonight.
Following along the same lines of its
prtdecegsor, "Next Wave" is filled
with prodictable story lines, cheesy
scripts and schmaltzy themes of love,
romance and adventure. Its basic
premise brings together the captain,
the crew and an entourage of guest
stars who find
$ romance, love
and understand-
Love Boat: ing -all within
Th Next an hour.
Wave The premiere
*a episode begins
with the crew
UPN members dis-
Mondays at 8 p.m. cussing the new
k captain who has
yet to board the
ship, the Sun
Princess. Chief
Purser Will
Sanders (Phil Morris), Chief Security
Camille Hunter (Joan Severance) and
Cruise Dirdctor Suzanne Zimmerman
(Stacey Trdvis) demonstrate studio-
taught, formulaic acting at its best. As
Kennedy arrives, he learns his 15 year-
old, drug-riddled, teen angst-filled son
Danny (Kyle Howard) must accompa-
ny him because his mother can't han-
dle his addiction.

Though this is such a basic and
overused formula, Howard's mum-
bling about his problems and his
yearning for his father's affections are
somewhat heartwarming. Believe it or
not, Danny is a multi-faceted charac-
ter. In one scene, he warmly reads to a
child a bedtimew story after rudely stat-
ing to everyone at dinner, "My day
sucked?' His smoking marijuana in a
child's playhouse also conveys his
tough, strong garishness ;in contrast
with his childlike innocence.
It's up to veteran actor Urich to
stand tall and steer the series into cam,
pleasant waters. As Captain Kennedy,
Urich tries to act tough, abrupt and
direct, but Uricl is more of a warm,
down-to-earth guy at heart. His stern,
unbelievable facade gets broken down
by the end of the first episode.
Guest stars that join the premiere
episode include comedian Lenny Clark
and Kadeem Hardison, who played
Dwayne on "A Different World" and
"Melrose Place"'s Doug Savant.
In tune with current public thought,
the script includes a joke about
Monica Lewinsky and Danny cracks
the line, "I'm gonna go down to steer-
age and look for Leonardo Di Caprio."
The comedy in the script is weak and
with puns like "Buoys will be Buoys,"
all that can be expected is a groan.
Though there is much in "Love
Boat: The Next Wave" to complain
about, the show works with Howard's
acting and his relationship with his
father Urich, who is such a likable guy.
"Next Wave" is the perfect show to
come aboard on when you're channel
surfing and there's nothing on. You'll
be pulled in its wake to watch the sec-
ond half hour because you, most like-
ly, missed the first.

By JuQuan Williams
Daily Arts Writer
En route to Detroit, Shomari
Terrelonge-Stone and a friend argued
about Charles Woodson, and the pros
and cons of his reported arrogance.
While Eric saw it as a problem,
Shomari argued that Woodson earned
the right to be arrogant, and that arro-
gance is not a bad thing as long as he
can back up his attitude with his actions
on the field. Shomari's partner, Sean
O'Neil, was in the car behind him.
The two were headed to Detroit to
intervieve -u-Tang Clan affiliate
Cappadonna for "The Shomari and
Sean O'Neil Show," which they'll be
co-hosting throughout this week on
WOLV. Cappa's interview would
become the latest addition to an already
potent lineup of interviews, which
include R&B sensations Destiny's
Child, Kimberly Scott and Jagged
Edge, as well as diva Mary J. Blige,
Woodson and 18-year old GSI Ralph
Charlton.
Terrelonge-Stone talks openly about
liis anticipation for the interview, and
how Cappadonna is his favorite MC. He
hopes the interview goes well. The 20-
year old sophomore says he is proud of
the show, and how it has grown in the
past few months.
"As a freshman, I wanted to do a cul-
turally diverse show, and having that
helps me maintain my audience. At the
same time, I wanted a show that elimi-

MARGARET
MYERS/Daily
Shomar y
Terrelonge-
Stone,
Cappadonna
of the Wu-
Tang clan
and Sean
O'Neil join in
one of
Cappa-
donna's
rhymes on
Friday out-
side of the
Atheneum
Hotel in
Detroit.

nates the stereotypes of minorities....
When I see these ideas implemented on
television I'm extremely happy. It's a
sense of pride."
The show originated from
Terrelonge-Stone's initial meeting with
O'Neil, at WCBN, where they both
were looking to start a radio show. A
chance e-mail directed them toward
WOLV, where they got the idea to start
a TV show that showed hip-hop music
and culture in a positive light, as well as
covered entertainment and politics in
general. The show has received an

extremely positive response from the
University community, and this particu-
lar episode will also being shown on
public access.
Terrelonge-Stone, however, has even
bigger plans, which include getting air-
play through cable channels, and public

access in different states. "If Sean and I
put 100 percent of our time into this, we
would be on cable already," he said,
"but we're so dedicated to our school-
work, we can't devote as much to the
show."
See CAPPADONNA, page 8A


I I


1Do~in't Panic!!1
if you think you're pregnant..
call us--we listen, we care.
PROBLEM PREGNANCY HELP
975-4357
Any time, any day, 24 hours.
Fully confidentlal.
Serving Students since 1970.

"
Y
p1iCj SO
r
I

U®

, , ' IIt

t

g
I

_

* I
STOPS HERE !I

Ever wanted to direct T.V.?
Is movie-making your passion?

Film/Video 200

Film, Video, and TV Production

wrBAS t

NOV

- 9

if m -


Vi[ vTe.t

---r-

V

I

The Film and Video Studies Program has openings in a course which
teaches the "How-to's" of Motion Picture. TV and Video production.
F/V 200 is a hands-on survey course which introduces students to the
entire production process for Television, Motion Pictures and Video.
Students make projects in all three media during the term. This course is
the gateway (pre-requisite) course for more advanced production courses
in the Film/Video Studies Program. It also serves to place production
methods within the context of the History and Theory of these media.
The companion courses, F/V 236 and 230, are an excellent introduction
to the History and Theory of the Movies, TV and Video. If you've ever

Ii

release dates subject to change without notice, sorry.
e 0

I 15 ________________

"s ro 11 ."

y