Wednesday Rte litSigat til 0 arts. michigandaily. com artspage@michigandaily.com 8 Courtesy of Twentieth Century Fox "Yes, it is necessary that my bra be exposed in this shot." 'Shoes' takes the long road to success 01 By Imran Syed Daily Arts Writer Leaving behind awesomeness of her rich-celebrity- international-waste-of- time-hiking-trip show "Trippin'," Cameron Diaz the utter trash-TV In Her Shoes At Showcase and Quality 16 20th Century Fox returns to screen for first time in the the two years in director Curtis Hanson's ("8 Mile") dramedy "In Her Shoes." The film, adapted from the chick-lit novel by Jennifer Weiner, starts out rather labored and almost unbearably trite, but it somehow, almost miraculously, comes together in the second half and manages to be smart, touching and perhaps even inspiring. The film centers on Maggie (Diaz) and Rose (Toni Collette, "The Sixth Sense"), two unlikely sisters that no one would guess are siblings based on their attitudes or looks. Maggie is a lazy slob who has no job and doesn't really want one, preferring to mooch off of her rich, over-achieving sister. But Maggie's irresponsible behavior finally crosses the line and a seeming- ly irreparable rift develops between the two. Only when they get in touch with their seemingly nonexistent fam- ily and discover a tragic secret from their childhood will the two sisters come to realize how much they mean to each other. Though the relationship between the two sisters takes an unconsciona- bly long time to develop, it is ultimate- ly what makes the film work. In terms of character, it's only when the two are apart that we get to truly know each one, understand their troubles and appreciate their respective plights. By showing the character growth of each sister separately, the movie keeps the viewers in the dark about the final out- come, all the while holding interest with an infectious, simple charm. Diaz's Maggie is initially a char- acter that the audience would love to hate - an apathetic, self-centered manipulator who uses people to get what she wants without ever doing anything herself. Yet when we find out more about her struggles and sol- emn past, it becomes impossible not to cheer for her as she finally begins to reform her life. Her sister, Rose, goes through a similar process of growth and finally learns that there are more important things in life than work and money. By the end, both sisters' jour- neys are rich and enchanting stories of what a person can accomplish if given the chance. The film tackes character and fam- ily issues that are surprisingly com- plex and handled with deft insight. Through the sisters' rampant bickering and conflicting loves of a father and grandmother and an utter monstrosity of a stepmother, the film portrays real family conflicts with intelligent grace. Though the ultimate solutions to these problems are unrealistically saccha- rine sweet, the film doesn't deny the occasional tragedy of life and shows that with a little support and love, all obstacles are surmountable. Often light and giggly, though thoughtful where it counts, "In Her Shoes" is the rare film that audiences will get more out of than they might expect. It makes for a fine change of pace from the overbearing crop of recent thrillers and inanely "humor- ous" comedies and should be enjoyed by an unexpectedly wide range of audiences - assuming they wait around until the story picks up. Courtesy of Sony Music "Since I look like this, you have to take me seriously. Or else I'll write a song about you." 'EXTRAORDINARY' MEASURES APPLE'S COMEBACK SHOWCASES BRILLIANT MUSICAL CONSTANCY By Gabe Rivin Daily Arts Writer After a 2003 Internet leak exposed an unfin- ished copy of her third album, Fiona Apple reemerged from six years of self-imposed exile as an unforgettable songwrit- er. Her story has been told many times in entertainment and music publications and often over-interpreted from the scant amount of publicly available information. But in its most factually accurate sense, here it goes: Follow- Fiona Apple Extraordinary Machine Epic/Clean Slate Whatever the real history behind Extraordi- nary Machine, we now know that the album was rerecorded in its entirety following the extraor- dinary buzz it received after it leaked. Featur- ing - gasp - producer Mike Elizondo (50 Cent, Eminem), the official release bears some resem- blance to the original Brion sessions but, most importantly, is much better. While the 2003 leak sounded unbalanced between pronounced string arrangements and Apple's own loud presence, its new form is well-mixed and composed from front to back. The album opens with the title track, one of only two that remain note for note from the Brion sessions - an offbeat song with jazzy vocals, plucked strings and the most addictive chorus on the entire disc. Apple's personality sounds sweet and pensive on the opener, leaving the possibil- ity that the years of dark angst and bitterness are behind her. Don't be fooled though, as the sec- ond track, "Get Him Back," romps into violent revenge ("Wait 'til I get him back / He won't have a back to scratch.") .As much as her self-righteous anger some- times reads on paper like the diary of a heartbro- ken teenager, Apple may have grown out of her reclusiveness. "Parting Gift" is as close as she'll ever let the listener into her personal sphere, and as tormented and bitter of a life she's had (and she'll never let you forget it), there's something intriguing and captivating about her words. She seems to have recognized her faults in the public arena ("I am likely to miss the main event / If I stop to cry and complain again"), and show that she's cast off her media image as the poster child for fucked-up youth ("So I will keep a deliberate pace / Let the damn breeze dry my face"). Extraordinary Machine excels primarily in its musical diversity. Hints of Joni Mitchell glow in Apple's astonishing vocal range, and chunks of John Lennon's piano are pretty evident as well - compare the last piano chord on Extraordinary Machine to that on Sgt. Pepper's Lonely Hearts Club. And while her influences aren't invisible, Apple shows talent in all genres ranging from hip-hop scats to operatic falsettos. Underneath all the bassoons and clarinets that personalize this album is a strong, unique musical identity - the stomping midrange piano and her gorgeous voice, complex key and time changes, howls and whispers and a taste for the waltz. Some may find Fiona Apple too in-your-face about her feelings. Men accustomed to lament- ing their own broken love may find her self- righteousness unattractive. Male or female, it gets tiring to hear any-artist ceaselessly-wax bitterness, and this one's no exception. With that said, Fiona Apple is no throwaway musi- cian. Her music is complex, and her voice is deep with passion and soul. Resurrected from a dark cave of infamy, Apple strikes a perfect chord with this long-awaited album. Let's just hope audiences don't have to wait another six years for the next one. ing a long hiatus from the biz, Apple completed a version of Extraordinary Machine. Produced by Hollywood orchestral wizard and veteran Apple music label producer Jon Brion, the album was submitted to Sony in 2003. Outsiders can only speculate as to why, after completion, its release was indefinitely put on hold. Initially, the press was led to believe that Apple's label, Epic, owned by Sony, was dissatisfied with the finished product. Later, Spin magazine revealed that Apple herself may have decided to shelve the project after it didn't match up with her original "vision." Eventually fans began to expect that her third album would forever gather dust at Sony headquarters. Strauss opera brings myth and music to Hill 'Syracuse sold out A2 By Sarah Peterson Daily Arts Writer By Kristine Michel For the Daily people would remember." The opera not only showcases Strauss's exceptional classical music, but also the impeccable talent of Fleming, who Kondziolka said is "the absolute darling of opera." Fleming's accolades place her What do you get when you cross a Roman comedy by Plautus, an early comedy of Shakespeare and the The University Musical Society will welcome Maestro Semyon Bychkov and the WDR Symphony Orchestra Cologne to the Hill Auditorium on Thursday. Under Bychkov's direction, the orchestra and performers will bring Richard Strauss's opera "Daphne" to life. Renee Fleming, whose exquisite soprano vocals and performances have won her worldwide fame, is cast in the lead role as Daphne. Ann Arbor is the first city in the United States to host the performance of "Daphne" as part of Bychkov's second nationwide tour. The UMS, under the direction of Program Direc- tor Michael Kondziolka, collaborated with Carnegie Hall and the John F. Kennedy Center for the Performing Arts to bring this rarely heard, but phenomenal opera to the campus. Kondziolka said Hill is viewed as a great place to perform and said that "according to the New York Times, it is the Carnegie Hall of the Midwest." He added that he "wanted to start off the year with a bang, giving a performance among several accomplished artists. With two Grammy Awards and eight total nominations, her talents have pro- pelled her to star- dom. The evening also marks Bych- Daphne Thursday 8 p.m. Tickets $70, $10 for students At Hill Auditorium music and timing of vaudeville? That's right, you get a musical full of beautiful songs, confused identities and hilarious situa- tions. "The Boys from Syracuse," music by Rich- ard Rodgers with lyrics by Lorenz Hart, was one of the first musicals The Boys from Syracuse Thursday 7:30 p.m. Friday and Saturday 8 p.m. Sunday 2 p.m. Sold Out At Lydia Mendelssohn Theatre kov's conducting debut at Hill. As prin- ciple conductor for the German-based WDR Symphony Orchestra, critics have praised Bychkov for his adaptations of Strauss's operas. Unlike many operas, "Daphne" will not rely on extensive sets, costumes or staging. This Greek myth of ill-fated love and conflicts between gods and mortals looks to the talent of the many soloists under Bychkov's direction. Throughout the opera, they illustrate the story and convey the mythical Greek scenery through their music. The opera also gives the audience a look at Daphne's inner emotions. She up one master for his twin and wives mistake strangers for husbands. At the end of the day though, the story is one about love and family. Alex Michaels, a senior in the School of Music, plays the part of Antipholus, one of the twins. Michaels explained how much he has enjoyed his time working on the play, especially the songs his char- acter gets to sing. "The score is real- ly beautiful, and I was really taken with the music of the character. The music shows a real character pro- gression and journey," he said. Michaels also explained that working on a classic like "Syracuse" is a challenge because the timing has to be precise. Since the music has a vaudeville feel, there are "a lot of particular timings," he said. . Explaining his decision to do this show, Director Brent Wagner said, "I thought it would be a great dis- covery, doing a 1930s musical." He spoke about how he really liked doing shows from different eras, especially a play by such a legend- ary director and writer. "I think many of the dance num- bers are beautifully conceived. Also, there is a point where two of the twins imagine what it would be like to grow up with brothers - that is really great," Wagner also said, "The Boys from Syracuse" is a classic featuring beloved songs such as "Falling in Love with Love" and "This Can't Be Love." It was revived on Broadway in 1963 and was a pop- ular 1930s musical. It promises to be a night of physical and situational comedy that will have the audience wiping away tears of laughter. 0 Courtesy of UMS Ren6e Fleming will perform in the Opera "Daphne." is a secluded and detached character who cannot find love among mortals or gods. In the dramatic and emotionally stirring final scene of the opera, Flem- ing will use her commanding stage presence and impressive vocals to por- tray Daphne's climactic transformation from human to tree. In writing "Daphne," Strauss's main goal was to create a modern opera out of an ancient story. He treats the audi- ence members to the challenging and impressive high-tenor vocals of the characters Apollo and Leukippos, as well as the creatively mastered and complex duets between Daphne and Leukippos in what promises to be a one-of-a-kind opera experience. to be adapted from a Shakespeare play in 1938. This weekend, University Produc- tions brings this classic show to the Lydia Mendelssohn Theatre. "The Boys from Syracuse," based on Shakespeare's "Comedy of Errors," is a story about two sets of identical twins, separated at birth, who unknowingly find themselves in the same town at the same time. Comedy ensues as people confuse one twin for the other, servants mix - - - - -1 W"~alk-Gm Try-Guts s' For the Michigan IE M'@ \0 "Don't let your get ahead of_,,.