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December 10, 2010 - Image 5

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The Michigan Daily, 2010-12-10

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The Michigan Daily - michigandaily.com

Friday, December 10, 2010 - 5A

Reindeer tell
all in expose
Walgreen play

Daft Punk's big.'Legacy'

By BRAD SANDERS
Daily Arts Writer
Don't feel bad about finding
coal in your stocking this year
- Santa Claus
has even added The EIght
himself to the .d
naughty list. Reideer
In "The Eight: Monologues
Reindeer Mono-
logues," Base- Tonghtat 7
ment Arts's fall and 11p.m.,
season finale tomorrow
written by Jeff at 7p.m.
Goode, the idol- WalgreenDrama
ized and peace- Center,StudioOne
ful environment Free
of the North Pole
is tarnished forever as Vixen, a
reindeer who pulls Santa's sleigh,
reports that Santa has been sexu-
ally harassing Rudolph. As the
news spreads, reporters swamp
the scene and each rejndeer each
reveals an account of the scandal,
often veering off topic and focus-
ing on their own issues.
"It's eight monologues, so it's
funny - you don't get to see the
reindeer interact at all," said
director Emma Donson, a junior
in the School of Music, Theatre &
Dance. "At least from what I feel
directing, you will know their
relationships based on what they
say and who they talk about. It's
pretty known how they feel about
each other."
In their monologues, the rein-
deer reveal their quirks to the
audience as well as their underly-
ing humanity, regardless of their
fur and antlers. Comet is a reborn
Muslim, Cupid proudly gay and
Prancer a producer who worked
on his own film, "Prancer." At
the same time, Vixen's best friend
Blitzen defends her in a press
conference and Rudolph's father,

Donner, painfully regrets selling
Rudolph to Santa.
"Dancer ... is very skittish.
She used to be a ballet instruc-
tor and she's a Jewish reindeer,"
said Ariel Sobel, a sophomore in
the School of MT&D who plays
Dancer. "When she first comes up
for her interview, she talks about
her vacation days and her sick
days, but she only works one day
a year."
Donson first performed Blit-
zen's monologue for Janet Zar-
ish from New York University's
Tisch School of the Arts, who
came to the University to speak
with the acting program. Zarish's
encouragement pushed Donson
to produce the show for Base-
ment Arts.
"She was really wowed and
hadn't heard of the play or the
material," Donsonsaid. "Ithought
to myself, 'if she's wowed by this ...
Hide your kids,
hide your wife,
Santa's coming.
I think it's a good play to do.'"
Donson, an acting major, used
Basement Arts as a gateway' to
experiment with directing, and
found the Studio One atmosphere
helpful for her^ show. Sobel has
also found this space beneficial as
an actress.
"I think especially with the
monologues, they're pretty long
and for me to connect with the
audience and whoever I'm speak-
ing to for that long amount of
time, it's helpful to have that
See REINDEER, Page 6A

French duo ditches
the rave and recruits
an orchestra
By CHLOE STACHOWIAK
For theDaily
With Tron: Legacy, the
soundtrack for the new Disney
movie that opens Dec 17, Daft
Punk unleashes
its electronic
power once
again. A film Daft Punk
pivoting on tech-
nology, digital Tron: Legacy
effects and the Walt Disney
virtual world, it's
no wonder direc-
tor Joseph Kosinski chose the
French duo for the job: their elec-
tro-house dance music has graced
clubs and raves since the early
1990s, and they've even racked up
a few Grammys.
The jolt of Tron: Legacy, how-
ever, is a far leap from past hits

like "One More Time" and "Tech-
nologic" that commonly blast
through swarms of partiers at
night clubs. While the soundtrack
is composed with Daft Punk's
well-known precision and French
house influences, it showcases a
new depth and maturity, as well
as an 85-piece orchestra. This
change may come as a shock to
glow stick-waving rave kids, but
to everyone else, the soundtrack
is musical bliss, a blend of mighty
sounds and emotions woven
together in intricacy.
Daft Punk's development of
sound is evident in the very first
track, "Overture," opening the
album with slow, passionate vio-
lins and throaty horns. The inten-
sity gradually builds throughout
the song, transforming into a
crescendo of crashing symbols.
It seethes tragedy and strength
without sounding over the top
- everything one would hope to
hear during a Disney movie about
cyber battles in a digital universe.
"Outlands" also features

this internal maturation, as the
track's opening violin part is met
with the deep cries of the bass
drum and brass section. What
was initially a quiet string part is
pumped up with the force of an
entire orchestra, and the layers
fuse together with fury. "Recog-
nizer" operates similarly giving
birth to energy between the dif-
ferent textures of music. In these
contexts, it's hard not to imagine
virtual battles between heroes
and super villains: the frantic
violins and solid bass drum vio-
lently rage against one another
with every beat.
Still, it's impossible for a die-
hard Daft Punk fan to listen to the
soundtrack without feeling some
sense of longing for the group's
typical music; the album bears
few similarities to the duo's dance
albums. These tracks just don't
have the same peppy vibe as past
work and the intensity can almost
feel a bit weighty at times. But
tracks like "Derezzed" and "End
of the Line" help to counteract

this, with the fiery beats and syn-
thesizer parts that brought Daft
Punk to popularity in the first
place. None of these songs are as
upbeat or dance-worthy as the
artists' past work, but they offer
light, rhythmic relief from the
heavy currents charging through
the rest of the album.
Parisian clubbers may be
mourning the loss of a new week-
end dance mix, but as far as the big
screen is concerned, Tron: Legacy
is far from a power failure. It
delivers the ferocity and storm of
sentiment expected from a major
motion picture, charged with
excitement without feeling forced.
Each track flows cohesively with-
out sounding monotonous, con-
stantly changing and challenging
the last with new layers of beats
and sounds.

A war of words erupts
in MT&D's'Much Ado'

By STEPHEN OSTROWSKI
DailyArts Writer
If gossip is the currency of a col-
lege campus, then William Shake-
speare's "Much
Ado About Noth-
ing," brimming Much Ado
with he-said About
she-said decep- No.h.n
tion and beguile- Nothfg
ment, seems the Tonight and
perfect selection tomorrow at 8
for adaptation p.m., Sunday
. by the Univer- a 2P.m.
sity's School of Power Center
Music, Theatre, Ticketsfrom $18
& Dance.
The Messina,
Italy-based comedy, to be show-
cased this weekend at the Power
Center, features a dichotomous set
of relationships: Hero and Clau-
dio are fresh-faced lovers whose
relationship is threatened by the
destructive plot of a conniving
outsider. Meanwhile, the silver-

tongued, romantically unlinked
Beatrice and Benedick are
unknowingly subject to match-
making.
"Much Ado" director and
School of MT&D professor John
Neville-Andrews praised the
play's multiple dimensions.
"What I love about 'Much Ado
About Nothing' is that it has so
much variety in there," Neville-
Andrews said. "It's not just a
straight comedy. It's certainly not
a tragedy, although very tragic
events take place, and it's not just
a straight drama; it has all of that
in there."
School of MT&D junior Allison
Brown, who plays the witty Bea-
trice, detailed the comedic signifi-
cance of her character.
"She's definitely part of the comic
relief and part of the love story
within 'Much Ado,' " Brown said,
"because her and Benedick fight all
time, and they really end up loving
each other despite their wits."

Neville-Andrews further
acknowledged the anchoring
effect of the Beatrice/Benedick
dynamic, which he described as
"verbal jousting" in an e-mail to
the Daily.
Shakespeare
meets the 1920s.
"This merry war of words cre-
ates a great deal of enjoyment for
an audience because they recog-
nize the painful situation these
two lovers are in, but eagerly
anticipate a positive and romantic
ending," Neville-Andrews wrote.
Providing a foil to the word-
smith Beatrice is her cousin, Hero,
played School of MD&T senior
Erin Cousins. She explained
the difficulties of portraying a
See MUCH ADO, Page 6A

Salto's wintry dance mix

By LUCY PERKINS
For theDaily
As age-old holiday traditions
are rekindled this season, the
newest ballet
company on
campus will A Winter
present cho- Wonderland
reography to a
mix of classic Tonight at
Christmas mel- 7:30 p.m.
odies and more Arthur MillerTheatre
contemporary $5
tunes.
In its second semester on cam-
pus, Salto Dance Company, com-
posed ofnine female students from
different disciplines, will pirou-
ette and jet6 as Sugarplum fairies,

Spanish hot chocolate, Arabian
coffee and other personified char-
acters from "The Nutcracker" in
their "A Winter Wonderland" per-
formance. Salto's first-ever holi-
day show will feature music from
Tchaikovsky's "The Nutcracker"
as well as other holiday songs, and
will incorporate a contemporary
dance style known as lyrical. Lyri-
cal uses the techniques of ballet as
a foundation but differs in that it
incorporates modern dance and
contemporary styles as well.
"When we started the group,
we sort of had the concept of the
winter show to .e half 'Nutcrack-
er,' half regular, more lyrical of
a show," said Anna Badalian, an
LSA junior and Salto's co-founder.

According to Badalian, the
first half of the show will show-
case selections from the second
act of "The Nutcracker," leaving
Combining ballet
and lyrical styles.

I1

II

out the ballet's iconic party and
battle scenes. The second act of "A
Winter Wonderland" will be more
contemporary.
"Most of the dance groups on
campus are more purely lyrical
and we wanted a ballet compo-
See SALTO, Page 6A

great location to U of M north campus. affordable rates.

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