First-Run Films The University Film & Video department screens student films. Come see some future Speilbergs and Kubricks debut their films of this past semester. 7 p.m., East Hall Auditorium, Free ftj £tcIbgmx &iffg Monday in Daily Arts: Check out our last issue of the semester with reviews of holt day films such as "Man On the Moon" and "Anna and the King. 8 Friday December 10, 1999 ____________________ * I Young triom learn from 'Tempest' professors By ciistophr Thcaczykc D~ail Arts Writer "Bang! Crash! The lightning flashed!" While that's another story, it is utterly and supremely "The Tempest," the last play by William Shakespeare. Show business biographer John McCabe, having earned his doctorate from the Shakespeare Institute in Stratford-upon-Avon, insists Shakespeare to be the best- ever poet, dramatist and writer. A combination of these qualities, he says, will never repeat itself - in this or other millennia. So such a dusk as tonight's is the best-ever to present, at the end of the millennium, Shakespeare's last play. Shakespeare's cultural influence isn't merely limited to musical theater, his verse having inspired poets since his words were first put to the page. Even "The Tempest" reappears in many modern works, including those of T.S. Eliot, who painted poetic canvases with Ariel's tongue, ushering her Act Il.i words to Ferdinand: "Come unto these yellow sands. And then take hands: Curtsied when you have, and kissd, The wild waves whist:' Eliot's allusions to Shakespeare run as rampant as the as, fathering yet another star to shine in the mod- erist's eye. From Shakespeare's "The Tempest" comes Eliot's "Wasteland," and thereabouts returns. So it comes with a dose of trepidation for three University students selected to perform in the School of Music's millennium-end production of "The Tempest." Surviving the swells of the language requires bravery and skill, not to mention the talent so carefully attrib- uted to them by director and Prof. Philip Kerr. Amid a cast of seasoned actors and professors, three Music students: junior Maclain Looper, senior Julia Siple and sophomore Margaret Smith are the talented craftsmen of the stage who portray the youngest char- acters in Kerr's "The Tempest." Siple and Smith are stu- dents in the department of theater and drama, while Looper studies in the department of musical theater. Sharing the stage with more than a handful of profes- 'Tempest' cedes r millennium with storm of effects 41 8y Jenni Glenn Daily Fine & Performing Arts Editor University Productions made cer- tain to let the millennium go out with a bang, in the form of a thun- derclap. The organization's stormy production of Shakespeare's "The Tempest" brews a potent combina- tion of spectacular effects and mar- velous acting. The production unites local artists and faculty members with students in a fantastic tribute to the Courtesy of University Productions Maclain Looper, Philip Kerr and Julia Siple make magic in "The Tempest." sors is not merely a challenge, but also a fear, Smith said yesterday, the morning before opening night. "It's a confusing kind of play. There's so much being told in the language. Most of (the professors) have prob- ably done this show. I felt kind of dumb and blind in the beginning, before rehearsals started." Siple admits to having shared with Smith's pre- rehearsal jitters, but was calmed as consulting director and assoc. adjunct Prof. Mark Lamos guided the cast through its first read-throughs of the play in early October. Lamos "was so clever and awesome with the lan- guage," Siple said. "He explained the poetry and the language of the play, making it come alive as wonderful and fascinating." Their fellow rude mechanicals, including Profs. Erik Fredricksen, Kerr, John Neville-Andrews, Beverly Pooley, George Shirley, Malcolm Tulip and Leigh Woods, each offered insight through their different approaches to acting. "Almost all of them were off-book by the first rehearsal," Looper said. Memorization of Shakespeare's text was an obstacle in preparing for the production. Body memory, the process of associating the dialogue with Kerr's block- ing, was a woodshed for the students, especially Siple. "Once you're on your feet, you're good to go. Everything kind of cements itself"Siple said. Kerr's direction gave further light to the drama. Also playing Prospero, Kerr was able to demonstrate his urg- ings, Looper said, helping to define his intentions for the production and how the students should physicalize his direction. "It's been amazing for him to teach you and then watch him step onstage and see it in action," Siple said. After two months of rehearsals, the trio are ready for this, the opening weekend. "I'm so excited for tonight," Smith said ofyesterday's opening night. "I'm really ready for it. We've built this beautiful experience. Now I want to give it away." Having mastered Shakespeare's "Tempest" as a final endeavor before the dawn of the millennium, the actors find themselves wishing to returnto Shakespeare, quite soon. Siple is hoping to direct a show next semester in Basement Arts, and Smith will be searching for anoth- er job. Looper, on the other hand, is expected to set across the sea for London, where he'll study theater for a semester. Naturally, he expects to encounter Shakespeare there. But the storm's not over yet. Whether daring to ven- ture into Sondheim's woods, or tempting to set sail on a wide Sargasso sea, rest assured: Shakespeare's afoot. This is theffinal article in a sefies about "The Tempest." Perfornnances continue tonight and tomorow at 8p.m. and Sunday at 2p.m. Call (734) 764-0450for more information. The Tempest Power Center Dec. 9.1999 end of the mil- lennium. Each actor's perfor- mance reflect- ed that profes- sional standard of excellence, from the gasp- ing exertions of Law Prof. E m e r i t u s Beverley J. Pooley's char- acter Gonzalo after a hike to the minor movements of enough for even those with little exposure to understand. He made Prospero's pregnant glances at his daughter and brother full of mean- ing, adding to the character's aura of mystical power. Audience attention focused on Prof. John Neville-Andrews and Prof. Malcolm Tulip in their comedic roles as the butler Stephano and Trinculo, the jester. The two cavorted about the stage in mismatched clothes, dancing drunk- enly and performing somersaults. The younger actors lived up to the level of talent surrounding them. Senior Julia Siple, as Prospero's daughter Miranda, focused on all of the awkwardness inherent in a young lady who cannot remember what it is like to live in civilized society. Tramping around in galosh- es, Siple's Miranda frequently twist- ed her hands in a true display of shyness. Alongside Siple, junior Maclain Looper portrayed Ferdinand, the prince of Naples, delivering fire in his passionate speeches and a singlemindedness to his character. Kerr showcases this talented cast with a unique twist on the setting. As the audience members took their seats, the cast was already on stage, reenacting a rehearsal, complete with actors portraying the crew members and the actors drinking and talking on cell phones. The shock came when this rehearsal turned into the play. Sitting around a table reading through the first scene, the actors began to emulate sailors. Tulip added to the effect by spraying the See TEMPEST, Page 9 Ol r dancer Peter Sparling's fingers as he danced the part of Prospero's spirit. Director Philip Kerr's attention to detail shined through in every scene. "The Tempest" provides a unique opportunity for students to witness the talents of the faculty, many of whom have extensive professional firsthand experience. Kerr por- trayed the lead Prospero in addition to directing the show. His past expe- rience served him well, especially in his capacity to articulate the Shakespearean language well f 0 Darabont, Duncan go the extra 'Mile' . By Ed Sholinsky Daily Film Editor Frank Darabont is a man in a precari- ous position. Like directors Quentin Tarantino after "Pulp Fiction" and David Lynch after "Elephant Man," Darabont has to live up to the expectations of the wildly popular, well-received film - in this case "The Shawshank Redemption" -- that shot his career through the roof. While Tarantino followed up with the underrated and largely ignored "Jackie Brown" and Lynch with the awful "Dune," Darabont looks to buck the trend with "The Green Mile." In "The Green Mile," Darabont - his second feature and his second big-screen Stephen King adaptation - goes back to prison, this time setting it in Depression- era Louisiana. At the heart of the story is Paul Edgecomb (Tom Hanks), the head of Cold Mountain Prison's death row, or as they refer to it, the green mile. As the main story opens (after a pre- sent time sequence) Edgecomb is suffer- ing from the worst bladder infection of his life, dealing with Percy Wetmore (Doug Hutchinson), the asshole nephew of the governor's wife who's been assigned to the mile, and new inmate John Coffey (a sure Oscar nominee, Michael Clarke Duncan). Edgecomb is used to keeping the mile under control, but Coffey disrupts his normal way of life, challenging his notion of what a vio- lent killer is. A gentle giant, Coffey was found cov- ered in blood with two dead little girls. Edgecomb has trouble accepting his guilt, The Green Mile At Briarwood, Quality 16 & Showcase however, as there is something about a man who is afraid of the dark and cries at sad music that marks him as anything but a killer. "The Green Mile" speeds along - even with a three-hour plus running time - and incorpo- rates a slew of subplots, most notably the death row appearance of William "Wild Bill" Wharton (Sam Rockwell) and a special mouse named Mr. Jingles. Wharton tries to shift the balance of power on the mile, attacking the guards when he comes in and causing a general ruckus. In an important turn, he kicks the ailing Edgecomb in the balls before he is subdued, which leads Coffey to show just how different he is. Coffey, in a strange turn, lays his hand on Edgecomb's boys and takes the bladder infection out of him. Nothing is the same after that as Coffey displays his healing powers a few more times and convinces all of the death row guards that he is a miracle. And this is one of the flaws of the film - it's impossible to believe from the get-go that Coffey See Mile, Page 9 F The University of Michigan SCHOOL OF Music DANCE DEPARTMENT Thursday-Saturday, December 9-11, 8:00pm Betty Pease Studio Theater Twenty musicians, dancers, visual and multi-media artists. THEATRE DEPARTMENT: The Tempest Thursday-Saturday, December 9-11, 8:00pm Sunday, December 12, 2:00pm Power Center Tickets are $18, $14 and $7 for students with I.D. For informa- tion and tickets call (734) 764-0450 SYMPHONY BAND & CONCERT BAND Friday, December 10, 8:00pm Hill Auditorium CONTEMPORARY DIRECTIONS ENSEMBLE Saturday, December 11, 8:00pm Rackham Auditorium UNIVERSITY PHILHARMONIA ORHESTRA i I I -As print. Sprint PCS' presents Courtesy of Castle Rock Filmy Tam Hanks and Michael Clarke Duncan pause in the lengthy film "The Green Mile." GE35TH ANNUAL GREAT LAKES INVITATIONAL a I r I I WEDNESDAY. DECEMBER 29 U of M vs. LSSU * 4:00pm MSU vs. MICHIGAN TECH " 7:30pm THURSDAY, DECEMBER 30 THIRD PLACE GAME " 4:00pm V CHAMPIONSHIP GAME " 7:30pm Sunday, December 12, 4:00pm Hill Auditorium Respighi's Fountains of Rome, Stravinsky's Le Chant du Rossignol UNIVERSITY SYMPHONY ORCHESTRA UNW .Y1oe T onis Arena L 1 IM.