Sebastian Matthews will read poems tonight at Guild House.
Matthews, a University instructor and staff member for the
English department's New England Literature Program, will offer
poems about his experiences in New Hampshire. 8:30 p.m. Open
mic to follow. 802 Monroe (across from Law Quad). 995-1956.
Free admission.
UaltatEII~mloafIU.
* Breaking Records returns to its regular day with a review
of "A+" by Hempstead High.
Monday
January 25, 1999 5A
Ryan
takes
By Ed Shollnsky
Daily Film Editor
Ask people what they think about the
Golden Globes and you're sure to get
multiple answers. Some see it as the bas-
tard child of the Oscars, others as a pre-
dictor of the Oscars and others will just
dismiss them. With last night's Globes
viewed in more than 130 countries and
snby more than 250 million people, it's
ious that these awards can't be
ignored.
Steven Spielberg walked away with
Globes for Best Director and Best Motion
Picture Drama for his World War II epic,
"Saving Private Ryan."
For his body of work, Jack Nicholson
was honored with the Cecil B. DeMille
Lifetime Achievement Award.
A shock came when the Hollywood
Foreign Press Association awarded Lynn
W grave the Best Supporting Actress
d for "Gods and Monsters" over pop-
ular favorites such as Kathy Bates
("Primary Colors") and Dame Judi
1999 Golden Globe
Winners
2 Best Motion Picture (Musical or
Comedy): "Shakespeare in Love"
9 Best Motion Picture (Drama):
"Saving Private Ryan"
*Best Motion Picture Director:
Steven Spielberg, "Saving Private
Ryan,
X Best Television Comedy Series.
"Ally Mc~eal"
N Best Television Drama Series:
"The Practice"
Collage canvassed vast
variety of music tastes
I AXJ '-I
AP Photo
Jack Nicholson won the Cecil B. DeMille Lifetime Achievement Golden Globe.
Dench ("Shakespeare In Love"). Ed
Harris won Best Supporting Actor for
"The Truman Show"
Adding to the laid back atmosphere of
the Globes was Christine Lahti, who pre-
sented the award for Best Actress in a TV
Comedy (Jenna Elfmann, "Dharma and
Greg") and Best Actor in a TV Comedy
(Michael J. Fox, "Spin City"), coming out
with toilet paper dragging from her shoe,
making light of her almost missing out on
last year's award for Best Actress in a TV
Drama because she was in the bathroom.
Keri Russell won the award for Best
Actress in a TV Drama for "Felicity,"
which fit right in with the Globes' history
of rewarding TV series that the Emmys
usually ignore. In the same vein, Dylan
McDermott won Best Actor in a TV
Drama for "The Practice." David E.
Kelley took home awards for Best TV
Series for both Drama and Comedy for
"The Practice" and "Ally McBeal."
Less surprising was Gwyneth Paltrow
taking the trophy for Best Actress in a
Motion Picture Comedy or Musical for
"Shakespeare in Love." Paltrow was
moved to tears as she accepted the award.
Michael Caine didn't well up, but said his
career was slipping because he had time
to be there to receive his award for Best
Actor in a Motion Picture Comedy or
Musical for "Little Voice."
In a complete shocker, Jim Carrey
upset critical favorites by winning the
Best Actor in a Drama for "The Truman
Show"
Angelina Jolie and Stanley Tucci were
named Best Actress and Actor in a TV
Movie, respectively for their work in
"Gia" and "Winchell.""From the Earth to
the Moon" took honors for Best
Miniseries. In the same category, Camryn
Manheim, and Fay Dunaway tied as Best
Supporting Actresses for "The Practice"
and "Gia." Another tie was announced for
the men as Best Supporting Actor, which
went to Don Cheadle, "The Rat Pack"
and Gregory Peck, "Moby Dick."
Marc Norman and Tom Stoppard took
home the Best Screenplay Award for
"Shakespeare In Love," which also won
Best Motion Picture Comedy.
Burkhard Dallwitz and Philip Glass
took home awards for Best Score for
"The Truman Show, and "The Prayer"
won Best Original Song, from "Quest for
Camelot."
"Central Station" was announced as
Best Foreign Language Film, while Cate
Blanchett ("Elizabeth") beat out its star as
Best Actress.
By Erin Holmes
Daily Staff Reporter
At center stage, the darkness was penetrated suddenly
by stage lights, the quiet broken by a declaration of the
Symphony Band's low brass. Before the audience could
catch its breath, the lights went out again; a single spot-
light highlighted a string quartet and its careful accentu-
ated changes of fingers and expression. When their bril-
liant performance had ended, another light - this time
blue - focused on stage right as Sachal Vasandani, with
a voice possessing the lulling quality of Harry Connick
Jr., sang the beautiful words of J. Fred Coots in a moving
"For All We Know."
The concert was simple, yet
diverse. With tastes of the new and
the old, student musicians and vocal-
Collage ists reminded a packed Hill
Concert Auditorium why the University's
XXII music school has been declared
among the best in the nation.
Hill Auditorium Collage XXII, featuring every-
Jan. 22, 1999 thing from Johannes Brahms to
Dizzy Gillespie and clearly living up
to its name, gave that sense of satis-
faction one gets when an ensemble of
favorite glossy magazine clippings
are pasted on a piece of poster board.
The concert, framed by the sounds
of the Symphony Band and the Symphony Orchestra's
ovation-worthy finale of Maurice Ravel's famous
"Bolero," provided enthusiastic and inventive glimpses
into the capabilities of the School of Music.
An unquestionable highlight of the evening's musical
potpourri was a performance by the musical theatre
department. A select group of students, clothed in 19th-
Century attire - including women carrying parasols and
men in top hats - enacted the antics of a portrait-come-
to-life as they livened up the pointillist images of George
Seurat's famous "A Sunday Afternoon on the Isle of La
Grande Jatte." The vocalists drew laughter from the
crowd as they sang thoughts from Sondheim's "Sunday in
the Park with George" - "I hate these people!" and "You
can't even see my profile!" - enforcing the song's title
that "It's Hot Up Here."
The laughter didn't stop there. The Choir Women and
Women's Glee Club brought puzzlement to the audience
with their unusual piece "Aglepta." Its beginning of sus-
tained humming punctuated with a series of deep and
shallow breaths definitely seemed questionable in the
musical setting, but quickly gained respect as the
women's voices changed to imitate what sounded like
high-pitched laughter and whispered syllables.
Most admirable was the fact that it was performed in
the complete darkness of the auditorium, with the con-
ductor using a glowing green baton to direct the women's
unique blend of voices.
The performances were spectacular - the momentum
of the night never slowed as the performers exited and
entered the stage.
The loud march of the Symphony Band, which con-
cluded the first half and marked H. Robert Reynold's
return to the Collage Concert podium following last
year's leave of absence, was followed in the second half
by beautiful and moving selections from the Symphony
Orchestra.
Led by the energetic Kenneth Kiesler, the group per-
formed Gustav Mahler's "Trauermarsch" as it's opening
statement and then switched gears from the distinct
sounds of trumpet and strings to a gorgeous melody from
Edward Elgar's "Enigma Variations."
The sounds blended perfectly and were highlighted by
the gentle back-and-forth movement of bows on strings,
which seemed capable of providing the background music
to any major motion picture drama.
The most unusual and seemingly ill-fit piece was the
piano performance of Ching-Chu Hu, who plucked the
strings inside the piano for an improvisational-sounding,
confusing and astoundingly brief tune.
But this could merely be seen as the one thing in a col-
lage that you know somehow must fit in, but have to first
learn to like; the rest of the images and the sounds of the
night made everything together a nearly flawless magical
musical masterpiece - and certainly worthy of massive
applause and ovation.
'U' honors Mozart in
annual birthday bash
Nurullah dazzled crowd at Kerrytown
By Jenni Glenn
Daily Arts Writer
The School of Music is throwing a
long-awaited birthday party tonight.
The University Chamber Orchestra
will perform selections from
lfgang Amadeus Mozart's compo-
si ions at the annual Mozart Birthday
Concert.
On Wednesday Mozart turns 243
years old.
"It's kind of fun to celebrate a birth-
day like this," said Kenneth Kiesler,
professor of conducting and director
of orchestras for
the School of
Music. "It's not
very often you
Mozart get to go to a
Birthday birthday for
Concert someone who's
over 200 years
Mozart's quantity of work allows
concerts of his music to take different
formats. Mozart lived for just 35 years
but composed more than 700 pieces.
Kiesler, however, noted that "his
greatness lay not so much in the num-
bers, but in the imagination."
In fact, studies have shown that lis-
tening to Mozart's music helps stu-
dents perform better. "The structure of
Mozart and the humanity of it (his
music) ... really connects with the way
the human brain works," Kiesler said.
Mozart's compositions can also be
enjoyed on many different levels. "If
you're a musician, you tend to analyze
it," Kiesler said. "If you're a lay per-
son, you're almost better off. You can
just let the music wash over you."
Due to this universal appeal,
Kiesler hopes the turnout from both
the community and the University
will be large as in previous years. "I
just want (the audience) to be imbued
with the spirit of Mozart," he said. "I
think Mozart just makes you feel
more alive."
Before the concert, musical theory
prof Elwood Derr will give a lecture
on the specific pieces in the program.
This lecture will be held at 7 p.m. in
Auditorium 3 of the Modern
Language Building.
By Jenny Curren
Daily Arts Writer
The Kerrytown Concert House is one of those
venues that remains largely unnoticed by the
student population, an assumption confirmed by
the fact that Saturday's audience for Shahida
Nurullah collectively remembered the release of
Charlie Parker's "Bird is Free" record. Though
most of us young
Shahida
Nurullah
Kerrytown
Jan. 23, 1999
exceptional talents4
whippersnappers may have
never owned a record, or
possibly never even seen
one, it's a shame there was-
n't a bigger student turnout
at this anything but small-
time house.
Huddled intimately
around the "stage," which
consisted of nothing more
than an empty patch of
floor occupied by the
ensemble, the audience felt
like guests at a private
soire6.
A frenetic instrumental
opener showcased the
of the intense Ann Arborite
"I have about a hundred favorite songs,"
Nurullah confided to the audience in an anecdo-
tal tone.
"Everything I'm doing tonight is one of my
favorite songs," she continued, breaking into a
languid, melancholy version of "If You Went
Away." Nurullah's impressive range highlighted
her buttery-smooth voice that likens her more'to
Roberta Flack than to the gravelly croon of
Billie Holiday.
Her rich alto and polished soprano created a
delightful interpretation on a Henry Mancini
medley and a version of "Autumn in New York,"
including previously unrecorded verses.
Another fantastic Brazilian number by Jobim
preluded the highlight of the evening, a smol-
dering interpretation of "Save Your Love For
Me," featuring a sensual sax solo.
Nurullah 's performance, while virtually flaw-
less and impeccably controlled, lacked the kind
of belt-it-out improvisation that makes a live
show unique. That is, until Nurullah announced,
"I have to do a blues.'
Blues it was. Roe frolicked on the ivories,
Davidson communed with the drums, veins
bulged on Keller's forehead and Nozero wailed
away on, amazingly enough, the clarinet. And
Shahida crooned: "I'm built for comfort/ I ain't
built for speed/ I got everything/ All you good
men need." Then, we were fulfilled.
Courtesy of Kerrytown Concert House
Shahlda Nurullah sang at the Kerrytown Concert
House on Saturday night.
Clad in a glittery gown and door knocker ear-
rings, Nurullah made her entrance, initially not
quite up to par on a rendition of "Love is the
Greatest Show on Earth." But by her second
number, Carlos Antonio Jobim's "A Felicidade,"
she and the band kicked it up to full speed.
Nozero traded his saxophone for a flute, an
appropriately haunting addition to the lilting
Brazilian melody.
Hill Auditorium
old"
Tonight at 8 This concert
tradition began
seven years ago
with Kiesler's
r predecessor
-_ _ - Gustave Meyer
after "Amadeus,"
the movie and play about Mozart,
revived interest in the composer. "If
it's possible to say that the greatest
composer's popularity increased, it did
at that time,"Kiesler said. He has been
in charge of this event for four years,
and said each one has been different.
Tonight's concert features a first
half with several of Mozart's vocal
pieces. These include three arias from
his overture to the "La Clemenza di
@o" opera, which pair instrumental
and vocal soloists. Students will also
perform "TheRibbon Trio;'a comic
piece Mozart designed for himself, his
wife and a friend, Kiesler said.
"The Posthorn Serenade," a multi-
movement piece, comprises the sec-
ond half. "It's got a lot of variety in it,"
Kiesler said. Since Mozart wrote most
of his serenades for special outdoor
nts, this piece is lighter than his
19nphonies.
Paul Keller on upright bass and Larry Nozero
on sax. Jubilant pianist Rick Roe and drummer
George Davidson provided whimsical, skillful
interludes.
I S
Student discounts on
eye exams and eyeglasses
Great Brands
Polo TommyHilfiger Calvin Klein
Due to Popular Demand, We Have Opened Two Additional Sections in
our Ann Arbor Location for the A pril M CAT.
No more waiting lists or
trying to bribe a Princeton
Review employee to get in.
But there is a catch: we
have only a couple spaces
left! Once these seats are
filled, our Ann Arbor
MCAT course wilh not
accept further enrollments.
Course #767- final section
Sat. Jan 30 9:OOam-5:OOpm
Sun. Jan 31 6:O0pm-10:00pni
Wed. Feb 3 6:OOpm-9:00pm
Sat. Feb 6 9:00am-1:00pm
Sun. Feb7 6:OOpm-10:ym
Wed. Feb 10 6:00pm-9:O
Sat. Feb 13 9: m
Sun. Feb 14 00 1 :OOpm
Wed. Feb ] 7 0 Opm-9:00pm
Sat.Fe9:00am-1:00pm
6:pm-10:OOpm
24 6:00pm-9:00pm
Mon.-MarS 6:OOpm-10:OOpm
Wed. Mar 10 6:00pm-9:00pm
Sat. Mar 13 9:OOam-s:OOpm
Sun. Mar14 6:0pm-10:Oopnm
Wed. Mar 17 6:O0pm-9:00pm
Course #777- final section
Sat. Jan 30 9:Oam-5:OOpm
Mon. Feb 1 6:00pm-10:0Opm
Thu. Feb 4 6:O0pm-9:00pm
Sat. Feb 6 9:00am-1:00pm
Mon. Feb8 6:OOpm-10:00 pA*L
Thu. Feb 11 6:00pm-9:
Sat. Feb 13 9:OOa :
Mon.Feb 15 6: pm
Thu. Feb 18 } n-9:00pm
Sat. Feb 20 a i am-I :00pm
MO 6:OOpm-10:OOpm
6:00pm-9:00pm
n. Mar 8 6:OOpm-10:OOpm
Thu. Mar 11 6:00pm-9:00pm
Sat. Mar 13 9:OOam-s:OOpm
Mon. Mar 15 6:OOpm-10:OOpm
TI.hM1R 6-nn.-Q00
" _
I