Monday December 12, 2005 arts.rmichigandaily. com artspage@michigandaily.com RTSe icligau tl 5A The Marcus Roberts Trio performed at Hill Auditorium Thursday. Chicago Orchestra stuns with jazz trio By Jessica Koch Daily Arts Writer It was only 25 George Gershwin's Rhapsody in Blue stole the spotlight of the two-and-a-half- hour show. Under the direc- tion of guest conduc- tor Robert Spano, the Chicago Symphony Orchestra played a minutes long, but Chicago Symphony Orchestra with Marcus Roberts Trio At Hill Auditorium dynamic program Thursday at Hill Audito- rium. The orchestra began the evening with Ralph Vaughan Williams's Symphony No. 2 ("A London Symphony") and ended with Leonard Bernstein's Symphonic Dances from 'WestSide Story.' Squeezed in between was a thoroughly modern and exciting ren- dition of Gershwin's jazz classic. For the headlining piece, the orchestra shared the stage with the great Marcus Roberts Trio jazz trio, with Marcus Rob- erts at piano, Roland Guerin at bass and Jason Marsalis at drums. With a style more reminiscent of the Boston Pops than the New York Philharmonic, the orchestra started Rhapsody with a strong, scintillat-. ing clarinet wail that was deceptively con- ventional. But it was evident once the first piano solo arrived that this would not be the same old Rhapsody. Roberts improvised the solo with complex rhythmic sequences that provided an alternate take on the piece. At first unsettling to hear, the orchestra's return helped everything fall into place. The last three piano solos jumped from hard rhythmic bounces to Southern swing to Chopin-style nocturne. Classical and jazz music embraced each another in a way that would have made Gershwin proud; orchestral musicians bobbed their heads as they played alongside the trio. Following the piece's boisterous ending, the audience leapt into a standing ovation. The orchestra started the night with a more traditional choice - the Vaughan Williams piece. Although the composer had no intention to embody a place or event, it's impossible not to associate the sights and sounds of London streets with the interwoven themes of the "London Symphony." A beautifully executed and controlled English horn solo opened the second "Lento" movement and painted an image of a lonely grey afternoon. The strings repeated a quiet, pulsing rhythm while quintessential Vaughan Williams chord turns led listeners into a calmer space out- side the rush of the city . The third movement, "Scherzo (Noc- turne): allegro vivace," filled with bus- tling tunes from the woodwinds and dark calls from the brass was followed by the charging final movement. "Andante con moto-Maestoso alla marcia Allegro," was a battle of styles, clashing back and forth fiercely until the harp sounded the third- quarter call of Big Ben and the city was filled with silence. The closing piece, Symphonic Dances, was defined by skillful execution. Wittily interjected with snapping and orchestra members shouting "mambo!," Bernstein's arrangement was amusing, but was a bit anticlimactic following the breathtaking Rhapsody. To top off the night, Spano returned to the stage for an encore to perform an adaptation of "The Victors," which was arranged by the orchestra's violist and University alum Max Raimi., The esteemed CSO delivered a crowd- pleasing performance on Thursday, but not by pandering to the crowd. The orchestra risked losing its audience by interpreting a popular classic in an unfamiliar way. At times, an audience gets a taste of bril- liance that doesn't go unnoticed. "Follow me. I have candy." TRAPPED IN THE CLOSET CLASSIC C.S. LEWIS STORY ENCHANTS ON By Imran Syed Daily Arts Writer Few events change lives like war. A young Briton went off to the frontlines of the Great War and returned, as he would later recall, "a blaspheming atheist." Those familiar with the themes of C.S. Lewis and his most enduring work, the children's fantasy series "The Chronicles of Narnia," might find such a claim hard to believe. Lewis, though he would go on to pen perhaps the most influential Chris- tian allegory of the 20th century, was an atheist for The Chronicles of Narnia: The Lion, the Witch and the Wardrobe At the Showcase and Quality 16 Disney Courtesy of Disney but also appreciated by outsiders for its simple, powerful undertones. . The story centers on the four Pevensie chil- dren: Peter, Susan, Edmund and Lucy (new- comers William Moseley, Anna Popplewell, Skandar Keynes and Georgie Henley). Forced to flee a besieged London for the British coun- tryside during World War II, the children find themselves at the mysterious Professor Kirke's archaic home - a boring place, save for one wardrobe, through which they enter the mes- merizing land of Narnia. But Narnia itself faces war, a long-awaited challenge to the evil White Witch's rule (Tilda Swinton, "Constantine"). The arrival of the four children sets an ancient prophecy into motion and brings about the return of the divine lion, the ruler of all there is, Aslan (Liam Neeson, "Batman Begins"). As the Narnians choose their allegiances and prepare for war, the chil- dren must decide if they belong in a land where faith alone stands between them and death. The plot of the film is similar to the book, but because Lewis's novel was-so short and non-descript, Adamson is free to add his own touches. The film's opening sequence - a des- perate attempt by the Pevensie family to escape the Nazi blitzkrieg over London - is so well constructed that it serves as an immediate attention-grabber for viewers unfamiliar with the novel. THE BIG SCREEN From this sequence Adamson masterfully moves the audience through a painful separa- tion of the Pevensie children from their mother and into the nostalgic atmosphere of Professor Kirke's estate. By the time the children enter Narnia and partake in its greatest battle, viewers are already heavily invested in the film's story. Some of the scenes within Narnia - the meet- ings with beloved animals such as Mr. Tumnus the fawn, the beavers and, of course, Aslan - are stretched a little too thin and slow down an otherwise excellently paced film. Nevertheless, the climactic battle of Peter's army against the minions of the White Witch shows CGI at its finest. The conclusion of the film is also strong, slowing the story down and setting the table for what will be an eagerly awaited sequel. Evangelicals have pushed this film as they did Mel Gibson's "The Passion of the Christ," but "Narnia" is not as blatantly religious. Lewis's most important commentary relates to material- ism, the evils of war and excessive pride. Though there are constant references to Adam and Eve, it's entirely-possibleto watch and enjoy "Narnia" while remaining oblivious to its biblical under- tones. But recognizing these undertones, while necessary for a complete understanding and appreciation of Lewis's magnificent work, does not detract from the everyday viewing experi- ence. It contains enough wisdom and insight into today's world to inspire everyone. nearly a decade before returning to Christianity and becoming one of its greatest champions. The time has finally come when his beloved work can come to, the screen without the unavoidable comedic tinge that animation would have brought to his noble characters. Director Andrew Adamson's ("Shrek") take on the enchanting second book in the series, "The Lion, the Witch and the Wardrobe," is appro- priately ambitious and dignified - a film that will certainly be adored by old fans of the book I Fiery 'Syriana' ignites debate about oil trade practiceS By Kristin MacDonald Daily Arts Writer In the safety of American suburbia, it's easy to dismiss the violence and chaos of the oil trade as simply "over H there" - a vague muddle affect- Syriana ing someone else in some far- At the Showcase away place. But writer-director and Quality 16 Stephen Gaghan's "Syriana" pins Warner Bros. part of the war front to Ameri- can soil, doing for the oil busi- ness what his Oscar-winning screenplay for "Traffic" did for drugs - he brings it home. "Syriana" has an unapologetically convoluted web of a plot, awash with secret deals and shifting alliances. The oil trade is a game, and there are more players than you think - big oil tycoons and Western-educated Middle East sheiks, yes, but also CIA operatives, gov- ernment investigators, upstart economic analysts and young Muslim fundamentalists. "Syriana" weaves their intertwining stories in and out of one another with a jazzman's rhythm and a scholar's sense of irony. It's not really difficult to understand the individual pieces of the puzzle, only how they fit together. In fact, the film's criss-crossing storylines make for a plot so complex that it ends up resembling a patchwork quilt of character pieces rather than a linear narrative thread. The divergent parts are to the film's credit, however, for it boasts an impres- sive cast capable of sketching out full-bodied characters even in their fairly slim time on screen. Among them are Bryan Woodman (Matt Damon), an economic analyst and young family man who Stewart to headline RSC's return to A2 By Alison Go Daily Managing Editor Courtesy of Warner Bros. "I'm sorry for 'Batman and Robin.' Couldn't you just let it go by now?" The Royal Shakespeare Company is coming back to Ann Arbor with a vengeance. Patrick Stewart, of "Star Trek: The Next Generation" and "X-Men" fame, will headline three shows next fall put on by one of the most prominent Shakespeare companies in the world.. The troupe will perform "Julius Cae- sar," "Antony and Cleopatra" and "The Tempest" as part of its third three-week residency at the University. Stewart will play the lead role in "Antony and Cleopa- tra" and Prospero in "The Tempest." Stemming from a 2000 agreement struck between the RSC and the Uni- versity Musical Society, the collabo- ration - which would include three residencies over the course of five years starting in 2001 - was the first its kind in America. Continuing this legacy of exclusivity, the Power Center will be the sole venue for the three RSC plays in the country next fall. "It's fabulous that the Royal Shake- speare Company has felt the way they do about UMS and the University," UMS President Kenneth Fischer said, "to come here as opposed to anywhere else in the United States for the great- est endeavor in their history." That "great endeavor" is the Complete Works Festival, where the RSC will fea- ture Shakespeare's 37 plays, along with his poems and sonnets. In Ann Arbor, this third residency has been in waiting for a long time. The original agreement had the RSC return- ing to campus in 2005, but a change in leadership within the troupe postponed arrangements, Fischer said. But UMS's patience ensured the presence of Stew- art, who had already agreed to work with the RSC on the Complete Works Festival starting in April 2006. UMS told the company it should make the residency a U.S. exclusive with "great titles and a certifiable star"Fischer said. "Ding, ding, ding. They did all three," he added. Fischer said it will cost $2 million to bring the RSC to Ann Arbor next fall. The University committed $350,000 to the effort, while donations and ticket sales will pay for the rest. Although the University's contribution is less than in previous years,Fischer expects increased fundraising efforts and ticket sales to make up the difference. The RSC will perform a total of 21 shows next year, while the 2001 and 2003 residents only saw 12 and 16, respectively. The residency, as in past years, is not just about the performance of some of Shakespeare's greatest titles - members of the RSC will also host interviews, lec- tures, workshops and behind-the-scenes events. Tickets for the performances will go on sale in February. winds up tending to a Middle Eastern prince's business prospects; Bob Barnes (George Clooney), a pudgy, aging CIA specialist unaware which boss he's serving; Prince Nasir Al-Subbai (Alexander Siddig), an idealistic prince; and an upward-look- ing lawyer/investigator (Jeffrey Wright, "Broken Flowers") digging through dubious oil deals. These aren't simply people with dollar signs for eyes - life exists outside of work for sheiks and executives and migrant Persian Gulf workers alike. They garden, take care of ailing fathers, play pick- up cricket with friends or head home early from CIA headquarters for their kids' soccer games. This familial motif draws out the story from the stark, fluorescent-lit offices of typical conspiracy thrill- ers. Granted, "Syriana" utilizes the usual Hollywood cast of old, blubbery fat cats hunched around a board room, with Christopher Plummer ("National Trea- sure") as the meanest baddie of them all. But even the easiest character to potentially render soulless - Chris Cooper's hunting-happy Texan oil tycoon - barbeques with his kids in the backyard. The drawback with such rich storylines is merely that most of them could have comprised their own film. The brief relationship of Goodwood and the prince, in particular, does not satisfy - there is more to this pairing than the film's tight pacing allows, especially in the comparison of American and Arab mentalities. Take Goodwood's wife (Amanda Peet), who prevents her husband from protecting their son against a young bully on the grounds that being cuddled is not good for his burgeoning autonomy. One cannot help wondering what Goodwood's sheik boss would have said in her place. "Syriana" ultimately buys into a gritty sense of drama that equates realism with tragedy. It certain- ly doesn't reinvent the geopolitical thriller but mas- ters it, fluidly alternating ideology and economics (Damon chews through several speeches) with extremely graphic violence (one unbearable torture scene) and even a light touch or two ("bobsled" and "remote control" emerge untranslated from rapid streams of Arabic). "Syriana" is a confusing tangle of movie, but it's unquestionably engrossing. Besides, the film's prime concern is not just the price of oil - it's who pays it and how. I ~ 3 -