The co-ed a cappella group celebrates its 5th anniversary. 58 reene presents its birthday concert tomorrow at 8 p.m. in Rackham Auditorium. Tickets are $6. Ie idiy OiI Monday in Daily Arts: Daily Arts returns from a relaxing weekend with a review of "Ravenous" and other new films. Friday March 19, 1999 5 Alvin Ailey bounds into A2 .. By Leah Zaiger Daily Arts Writer With open arms and the obvious prediction of standing ovations, Ann Arbor welcomes the return of Alvin Ailey American Dance Theater for their 22nd, 23rd and 24th perfor- Alvin Ailey American Dance Theater Power Center Tonight & tomorrow 8 p.m. Sunday at 4 pm. mances here. Distinct programs for each evening make it possible to enjoy three different performances. Established in 1958 by Alvin Ailey and a group of black modern dancers who performed at the 92nd Street Young Men's Hebrew Association in New York, the troop has come along way. As one of the world's most acclaimed companies, the dance pany continues to perform Ailey's works while continually adding to their repertoire. Ailey's goal was to preserve a sense of conti- nuity of significant pieces throughout history, simultaneously adding new ones to maintain the special quality of the original company. Ailey joined his original teacher, Lester Horton's California-based company, in 1950 and continued to choreograph for it after Horton's death in 1953. He also studied with Martha Graham, Doris Humphrey and Hanya Holm, while dancing and acting on Broadway. In 1965, he completed his own dancing days, transferring all of his energy into his company and choreography. The success of the Alvin Ailey Dance Theater has been overwhelming, beginning with its initial reception upon introduction to the world of modern dance performance. Even more impressive, however, is its recog- nition and the fans that have followed throughout its entire existence. Among his many memorable works is the company's signature piece "Revelations" (1960) which will be performed all three nights while here in Ann Arbor. Celebrating black America, set to spirituals, blues and jazz, Ailey's choreography appeals to the ears, the eyes, heart, and soul and, of course, the tapping foot. Currently, Judith Jamison is directing the Alvin Ailey American Dance Theater. Jamison attended First University as a psy- chology major, and later transferred to the Philadelphia Dance Academy (now the University of the Arts) where she has now taken on the role of a visiting professor. She joined the Alvin Ailey group in 1965 and has performed throughout the United States, Europe, Asia, South America and Africa. This Sunday, Jamison will be receiving an award presented by the Washtenaw County Campaign of The College Fund/UNCF (United Negro College Fund), and will receive the Eugene Power award for outstand- ing artistry. Performances ofAlvin Ailey American Dance Theater are tonight and tomorrow at 8 p.m. and a Sunday matinee at 4 p.m. Tickets are $18-$38 and can be purchased at the UMS Box Office, or at the Power Center Box Office prior to performances. Call 764-2538 for more information. 4 f theater has performed for more than 18 mil- lion people throughout the United States and in 67 countries. " Ailey, who passed away in 1989, produced 79 ballets throughout his lifetime. The com- Courtesy of University Musical Society Dancers recreate the bold choreography that made Alvin Alley famous. ,Pat McGee tovisit Pig By Chris Kula Daily Arts Writer The story sounds familiar: A group of talented musicians come together behind an upcoming singer/songwriter in orthern Virginia and, within just a couple of years, find themselves playing packed clubs and colleges along the Atlantic coast. Just like Dave Matthews and company earli- er this decade, the Pat McGee Band has begun to take the path toward higher success. That road currently finds the band touring newer markets, an outreach that will bring it to the Blind Pig on Saturday RC to showcase Durang plays Pat McGee Band Blind Pig Tomorrow at 9:30 p.m. night. The Midwest may seem a long way from home for the Richmond Va. based band, but in the three years that the PMB has been playing, it's experi- enced a remarkable boom in popularity that has naturally led them to fresh audiences across the country. The PMB's highly melodic brand of acoustic pop/rock keeps the fans com- ing back. Led by McGee's southern- fried vocals and lively rhythm guitar, the band is completed by guitarist Al Walsh, bassist John Small, keyboardist Jonathan Williams, drummer Chris "No Relation" Williams and percus- sionist Chardy McEwan. The dance- Courtesy of Pat Mc Gee Band Pat McGee Band is expect to wow the 'Pig' crowd tomorrow. nered the band "Best Recording Pop/Rock" honors from the Washington Area Music Association. While the PMB has had great studio results, the stage is where it has earned its reputation as one of America's most exciting live bands. The PMB has already performed at some of the top clubs in the nation, including Boston's esteemed Paradise, Atlanta's Variety Playhouse and Boulder's Fox Theater. It's shared the stage with the Allman Brothers Band, Ziggy Marley and Rusted Root (who, by the way, put on a tremen- dous show at Hill Auditorium last weekend that I'm still try- ing to get over). The band has even jammed in concert with harmonica demon John Popper of Blues Traveler. The PMB was also featured in Dean Budnick's "Jam Bands" book, a look at the hottest live acts in the country. This kind of recognition is akin to the touch of God in the jam band community, and the PMB's stirring performances have backed up these lofty claims. From their upbeat, friendly style of music and Virginian origins to their clever acronym nicknames, similarities abound between Dave Matthews Band and the Pat McGee Band. While it remains to be seen whether the PMB will reach the same dizzying heights as Dave, Carter and crew, it's certainly on the right trail. Opening up the show is Vertical Horizon, a four piece, acoustic groove-rock band from Washington D.C. known for its tight, expressive playing and articulate songwriting. By Lauren Rice Daily Arts Writer This weekend, the RC Players will make the walls of East Quad Auditorium buckle with laughter, as they perform "Thirteen Short Plays," written by Christopher Durang. The various satirical comedies are a compilation of Durang's original works. His inspiration and content are often autobiographical in nature, as he occasionally dips into the accumulation of his personal experiences. The show's director, Kelsey Cameron, and RC sophomore, said "All thirteen sketches bring out certain idiosyncrasies that we observe in modern day American society. Some also reveal the superficial aspects of relationships" On the sur- face, the relationships seem dramatic, but once the external layers are peeled away, the pettiness is exposed. Despite the biting flavor of the content, Durang's comedies are, in part, autobiographical in nature, reflecting a range of experiences from his childhood spent in Catholic schools, to his frustra- tions with the L.A. movie business. The show is unique in an unconventional way. "Everyone is cast in five to six parts, which not only creates balance, but allows each individual a moment to shine," Cameron said. This blend lends itself in creating the diversity throughout the performances. In addition to the multitude of roles, the actors also take on auxiliary duties. "The show is also an ensemble in that the actors have taken on a good deal of responsibility, in addition to their roles. They have been responsible for their own cos- tumes, props, and music ideas," Cameron said. The evening's lineup is comprised of light comedies, including "The Funeral Parlor," which finds peculiar mourn- er Bill Nicholson at the side of a grieving widow, played by Becca Fried. Durang incorporates his experiences with Hollywood in "Business Lunch of the Russian Tea Room." This sketch foa- tures Paul Kuttner as a playwright caught in a tug-of-war between his sense of literary honor and his desire to succeed in a world of money hungry sharks. Students Rachel Rennie and Becky Katzman portray big shots that try to reel him in. "The Book of Leviticus Show," featuring Amanda Elder as a young Southern wife, takes a shot at the eccentricities of Bible thumpers. The segment follows their fanatical interpretations, which lead them astray, and the pitfatls they encounter as a consequence of taking the book as ver- batim. A lineup of satirical sketch comedies wouldn't be complete without a parody, which Durang provides with his rendition of "Medea." The short play employs theatrical tools 'aid superstitions to wrap up the evening with a round of laughter. "Thirteen Short P/ays by Christopher Durang" runs tonight and Saturday at 8p.m. in the East Quad Auditorium. Tickets are $5, $3for students, and can be purchased at the door able grooves they create are filled with enough catchy hooks to delight every dance-hungry sorority girl in the Ann Arbor area. A testament to the appealing nature of its music, the PMB's debut album "Revel" has sold copies since its independent release in Joan Rivers By Erin PodolsWy 4pady Arts Writer It's that time of year again. Harry Winston is loaning out his famous jewels and the stars are primping and preening. But we all know what is going to happen inside the Shrine Auditorium on Oscar night - but the real fun and games are out on the red carpet. It's time for non- stop Oscar mania on E!, from analysis of the nominees to the ghoulish Joan Rivers 16crew. You heard me right. The bitch is back. More than any awful television series, Jurassic Joan's pre-show awards special never fails to impress due to her ability to sink to new lows. She dispenses insults after sweet-talking an interviewee and her perennial potty mouth comments never fail to entertain. At least she is dependable. There are a more than 40,000 1997. It even gar- dishes dirt on E! Oscar few givens to look forward to: She will attempt to kiss every single person she interviews since it's probably the only opportunity for action she is going to get until the Emmy's roll around next September; she will rant about hideous outfits; she'll ask every interviewee will be "Who are you wearing?;" and she will spend a large chunk of the evening bad- mouthing Gillian Anderson, against whom Joan holds a mysterious, unwar- ranted grudge. Apparently, E! is fascinated with Rivers, otherwise they wouldn't continue to let her emcee the Oscar festivities. Either that or they can't find anybody as offensive to fill her spike heels. But the Rivers fascination ends with Joan. The E! pre-show will be plagued by one awful phrase, "Back to you Mom!" This ugly statement will issue forth from the siliconed lips of that "Fright Night"- worthy progeny, Rivers'. daughter Melissa. Melissa has none of her mother's nasty charisma, but all of her bad genes. She comes across as a wannabe riding on her mother's broomstick to infamy. Then it's time for the Bitch Brigade's live carpet coverage. After all of the gold- en bald guys are handed out, Todd Newton and Melissa will hop from one post-show party to another, seeking out interviews with swilling actors ,living the good life on somebody else's dollar. All ofthe E! coverage, with 10 cameras and 5,000 hours of manpower behind it, will no doubt be entertaining. Joan Rivers is the real highlight (or highfright) of the evening, and her performance should be worthy of any one of the actual nominees. The festivities start Sunday at noon with the bitch launch scheduledfor 6p.m. eI egotiate & Earn $10 3 Earn $10 in a 1 hour computer-mediated negotiation