S

ARTS

The Michigan Daily - Wednesday, April 17, 2002 - 9

Hip String Cheese
Incident rocks Hill

Lyon Opera brings
innovative musical
Cinderella to Power

By Brett, Billow
For the Daily
After a week long hiatus, bandanas, dread-
locks and hemp made their way back to Ann
Arbor's forefront. Unfulfilled by the cama-
raderie Hash Bash had to offer, Ann Arbor's
finest hippies (and pseudo-hip-
pies) returned for the String
Cheese Incident's stop at Hill THE S
Auditorium Sunday night.
With the smell of weed already
present on the breadth of so many INCE
homemade-pant-wearing fans, the Hill Au
auditorium began to fill as the Sun
opener, Keller Williams, played ?
alone on stage. Williams per-
formed barefoot on an oriental rug and wowed
the audience as he used his mixer to become a
one-man band.
A purple curtain was draped across the back
of the stage and a set of bongo drums was
brought out in order to prepare for the String
Cheese Incident's arrival. Just under a week
ago, this same stage displayed a patriotic blue
curtain and an American flag as one of Ameri-
ca's most respected senators, John McCain,
spoke in favor of community service. Despite
the witty slogans on so many tie-dyed t-shirts
,the only instance in which the members of this
audience will perform community service is
when they are ordered to by the state of Michi-
gan as a punishment for possession of marijua-
na.
SCI strolled on stage (also barefoot) and
opened with "Bar Stool." Immediately it was
apparent that the appeal of their music can only
be realized when it is being played live. Their

latest CD, titled "Outside
Inside" is incredibly
bland in that continuous
jam session sort of way.
But live, the music
bounced off of the innu-
merable shirtless and

By Archana Ravi
Daily Arts Writer

heavil,
drugge

y
d

The only time we truly experience
life in its purest form is during our
childhood. Children are unsuspi-
cious, simplistic and ever so cre-
ative. From their perspective, life is

STRING
IEESE
IDENT
uditorium
Apr. 14 at
0A p.m.

fans who N
reacted to
each note
with a
twitch of
arm-flailing
ecstasy.
Most of String Cheese Incident, booya.

Courtesy of Sci-Fidelity

the songs melded together
making, it impossible for an outsider to decipher
when one song began and when the other one
ended - or to notice what the difference
between those two songs had been. However,
the fans loved, it and they grooved with as much
intensity as any member of a mosh-pit head
bangs.
The highlight of the evening came early. Dur-
ing the middle of their first set opener, Keller
Williams came back on stage to play with SCI.
He joked: "We are the Keller Williams' Band,"
and in reality he was right. SCI were reduced to
his backup band. Williams took center stage and
often the spotlight was solely focused on him,
leaving SCI barely visible. But Williams had the
energy and the skill to warrant this juxtaposi-
tion.
The band finished this first set with an instru-
mental Allman Brothers cover. At this point
they opted to take a twenty-minute break and

a manifestation of sto-
ries and dreams, surreal
yet clear and absolute.
In a masterpiece
described by The New
York Times as "aston-
ishingly original and
magical," the Lyon
Opera Ballet takes us
back to our childhood
in a fantasy-like pro-
duction of "Cinderel-
la." The classic

LYON C
BALI
Power C
Fri. and Sat.
Sun. at
University Mu

then return for another hour and a half of play-
ing. The second set lacked the energy of the
first. The audience seemed to be coming down
from their highs, and Keller Williams did not
return to revive them. In all, the band played for
about three hours, each member taking a turn at
lead singer duties in true hippie commune style.
It was impossible to leave this show without
feeling two things; the first was the sense of the
community that String Cheese is surrounded by.
Word quickly spread around my section of the
audience that I was writing a review and numer-
ous people made a point to continuously check
on me to make sure I "felt welcomed into the
Cheese family."
The second feeling was that you were high.
The auditorium was relaxingly warm, the seats
rocked back and forth with the dancing of the
people in your row and the psychedelic effect of
the music was heightened with the use of
numerous lights swirling on the ceiling and
walls. However, this sensation was not enough
to keep the show interesting for as long as it
went on. My advice to the String Cheese Inci-
dent: shorter shows or longer-lasting drugs.

child, happily ever after. However,
the French end their fairytales with
"Ils furent heureux et eurent beau-
coup d'enfants" - "They would be
very happy and would have many
children." So, at the end of the
Lyon Opera production, Cinderella
and the Prince pull a cart full of 20
real dolls on stage and
truly live a fantasy
ending.
)PERA The Lyon Opera
LET Ballet first toured in
1999, performing
enter "Carmen" and "Solo
at 8 p.m., for Two." In 1987, its
3 p.m. debut performance of
$36 "Cinderella" made it
an instant hit at the
sical Society New York City Center.
In 1995, the Lyon
Opera Ballet was named Opera
National de Lyon, giving it the'
same high status as the 328-year-
old Opera National de Paris. In
June 1999, the company became the
first modern ballet troupe to per-
form at the Bolshoi Theater. Now,
the company returns with one of its
biggest hits, "Cinderella," in a
series of three performances this
weekend.

fairytale is portrayed through the
eyes of a child with a toyshop set-
ting, porcelain doll-figure dancers,
toys, trumpets and even intermittent
sounds of baby gurgles.
However, it is not the setting that
is emphasized in this theatrical
world of make-believe; rather, the
focus is the intense human emotion
of the characters. French choreogra-
pher Maguy Marin tries to depict
children's feelings through the
show's doll-like characters.
Marin has been described as a
post-Romantic, creating a sophisti-
cated, innovative production of
appeal to many audiences of all
ages. Marin has choreographed for
many highly acclaimed dance com-
panies, including the Paris Opera
Ballet, the Dutch National Ballet
and of course, the 1985 version of
"Cinderella" for the Lyon Opera
Ballet. Although trained in both
classical dance and modern, she
does not incorporate either style by
itself into this production. Most of
the dolls move in "stiff-knee" jerky
movements, much like those of a
real doll (if real dolls could move by
themselves).
The show ends thematically, the
way everything should end for a

CourtesyofU uMS

The kind of guys you wish could be your parents, or at least your crazy uncles from Arizona.

Cinderella in full swing.

TV Actor
Urich loses
battle with
cancer
By Ryan Blay
Daily TV/New Media editor
Actor Robert Urich, best
known to the world as Spenser
from TV's "Spenser: For Hire,"
passed away yesterday at the age
of 55 in Los Angeles.
After a prolonged battle with
a rare cancer that once went into
remission, the actor, whose
credits include Dan Tanna on
"Vega$," Peter Campbell on
"Soap" and Jake Spoon in the
"Lonesome Dove" miniseries,
succumbed to synovial cell sar-
coma.
The Ohio born actor has sev-
eral Michigan connections. He
received a masters from Michi-
gan State University, and also
co-founded, with his wife, the
Heather and Robert Urich Fund
for Sarcoma Research at the
University of Michigan. Besides
acting on shows such as "Emer-
il" in his last days, he was active
in the attempt to gain funds to
find a cure for sarcoma.
Long after his first TV role,
on the show, "Bob & Carol &
Ted & Alice," Urich received a
Cable ACE award for one pro-
gram, as well as an Emmy for
narrating "U-Boats: Terror on
Our Shores."
His career spanned the 1970s
("S.WA.T.," "Tabitha") through
this decade with his brief stint
as Capt. Kennedy on "The Love
Boat: The Next Wave," his final
appearance on TV in "The Presi-
dent's Man: A Line in the Sand.

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