University English Prof. Tobin Siebers reads at Shaman Drum. Siebers will read from the recently published "Among Men," a book discussing the meaning of manhood. 8 p.m. 4 t . ' a f, i ® Check out Breaking Records for a review of the New Kids on the Block's latest release. Monday February 15, 1999 Guitarist Pepe Romero to appear with orchestra By Jufle Munjack For the Daily Known for his brilliant performance and flaw- less technique, Pepe Romero more than fifty recordings for solo guitar, guitar with orchestra and chamber music for gui- tar. Romero joins the unique Orpheus Chamber x.. Orchestra for a concert on Pepe Feb. 15. Romero His most recent solo Rackham album, "Opera Fantasy," Auditorium includes guitar pieces from Tonight at 8. "Rigoletto," "La Traviata," "1l Trovatore," "Don Giovanni" and "Faust" With his father and sib- lings, Romero began the leading classical guitar ensemble in the world - The Romeros Quartet. Although he will be per- forming without his family tonight, Romero's presence will ensure a new type of musical expe- rience. Sharing the stage with this world renowned gui- tarist will be the incredible Orpheus Chamber Orchestra. The group has performed for more than 25 years without a conductor. Unlike most orches- tras it was created upon the idea that musicians could work and perform as equals. Each musician is given the opportunity to play in the principal and secondary positions. This guarantees that every player is given the chance to both lead and follow the other members. From piece to piece, the players' seating rotates, distrib- uting the leadership and responsibility. Shifting positions eliminates the blame from a single per- son, creating a system of learning and teaching. ,In the more than 50 concerts they play annually the orchestra has previously worked with many soloists. Romero has played with Orpheus on numerous occasions, playing music composed specifically for guitar- orchestra combinations. The amazement hits when one realizes that all of the music is being performed in the absence of a conductor, and without mishaps or confusion. Its fluid sounding rhythm, requires not only preci- sion, but an extraordinary amount of cooperation and skill. Allan Kozinn from The New York Times said, "Orpheus Chamber Orchestra precision and unity of purpose evoked as much wonder as admira- tion." Another New York Times writer describes Orpheus as "a group that operates at a high level of drama, because it feels drama naturally." Ronnie Bausch, a violinist in the Orchestra for 24 years, describes Orpheus as a "multiconductor ensemble," creating a "society of equals." When a soloist joins the group, the musician takes on the role of conductor, and a "partnership is formed," among the performers. Bausch said the performance is like a "basket- ball game, where every quick pass is like the switching of leadership among the players." Using this form, a community is created, which is evi- dent both visually and audibly. Justin Davidson, a journalist for Newsday mag- azine writes, "Not only is Orpheus as waterproof an ensemble as any conductor could demand, but its musicians play with fused sense of urgency and a cooperative commitment to detail." Romero, along with the Orpheus Chamber Orchestra are sure to perform an energetic and inspiring program, one that no one will want to miss. Tickets for Pepe Romero are $22 to $36 and can be purchased at the University Musical Society Box Office, first floor of the Burton Memorial Bell Tower Call 764-2538for more information. Courtesy ofColum$Artists Pepe Romero will perform with the Orpheus Chamber Orchestra tonight. Our Country's Good' falters wit slow development By Jenni Glenn Daily Arts Writer Following a group of desperate crim- inals in Australia's first prison colony, this weekend's University Productions s w had the potential to be a truly com- Our Country'S Good Mendelssohn Theater Feb. 11, 1999 pelling drama. Yet in spite of its talented cast, "Our Country's Good" never broke out of its own prison. Even with graphic whipping and sex scenes, "Our Country's Good" took more than half of its three-hour run- ning time to involve the audi- of characters to identify with detracted from the superb display of emotional acting. In particular, Brendan McMahon, in the role of guilt-ridden prison guard Harry Brewer, reproduced in an outright eerie manner a broken man losing his sanity to ghosts. In comparison to the fear inspired by his creepy performance, the two leads Andrew Bielski and Julia Siple seemed saccharin and out of place in this drama about desperation. Yet many of the actors conveyed the transformation of the prisoners in a very realistic manner. During the second rehearsal in the play, the convicts' fears induced by the threats of Major Ross, a leader of the colony opposing the play, were palpable. This scene displayed, in a culmination of tension, the difference in the convicts' reactions to intimidation and education. All these powerful parts of the perfor- mance, however, took place in the sec- ond act. The first act contained only exposition, merely setting up the con- flicts for the rest of the drama. Since all of the convict characters, and several of the guards, came across as mere animals in the first half, the audi- ence lost interest in their activities. Dominique Morisseau's angry perfor- mance as convict Liz Morden and Angela Lewis's mood swings as Duckling Smith, although convincing, didn't push the audience out of their indifference. In particular, the scenes dragged where the authorities of the prison dis- cussed the play's fate or possible hang- ings of prisoners. Although necessary to establish the conflict between vicious Major Ross, played by Joshua Parrott, and Daniel Kahn as the civilized Captain Arthur Phillip, these scenes held no interest for an audience that did- n't identify with the convicts' situation. With less time devoted to setting up the story line, this play could have expressed the importance of efforts to reform criminals very effectively. The setting, however, muddled the relation- ship of the situation to today's political debates on the fate of overcrowded jails and the death penalty. Even with the plot based in real events, this story, at least during the first act, seems like a relic from another time that should have been left there. ence. For the viewers who did return after intermission, their patience was reward- ed, although it was too little, too late. This obscure drama never allpwed audience members to identify with con- vi ts and prison guards trapped in a for- e land. A gap of 200 years and thou- Submissions to the Daily literary magazine are due Feb. 19 at noon! Call 763-0379 or e-mail it.mag.99@umich.edu for more information. ,ourtesys, kuridountryskoo Daniel Kahn, Aaron Sherry, Dominique Morriseau, Joshua Parrott, Nick Gabriel and Andrew Bleiski portray guards and criminals. sands of miles combined with the immeasurable societal gap between the audience and the characters proved too much for Timberlake Wertenbaker's writing to bridge. Wertenbaker attacked the question of whether a criminal can be reformed. The guards decided to educate the prisoners by putting on a play. This process changed the convicts in the cast from sav- ages into compassionate human beings. Until this change took place, the lack I Hurry in. It's Bonus Time at the Clinique counter. Frustrated and disappointed with the University? Need help making sense of your U of M experience? Check out http://universitysecrets.com r t i i