The Michigan Daily - michigandaily.com Wednesday, February 2, 2011 - 7A Continental dance 'Idol' starting to idle 'Dancing Americas' promises live music and improvisation By LUCY PERKINS Daily Arts Writer Geographically, the Americas span time zones and cross the equator. Two oceans lap at their shores, while mountains, rivers, lakes and canyons Dancige chop up Americas the terrain. And inside Tomorrow and each nook Friday at 7:30 p.m., and cranny Saturday at 8 p.m., of this land Sunday at 2ptm. are cultures - each with Power Center a story to Tickets from $10 dance. "Dancing Americas" is a School of Music, Theatre & Dance performance aimed at celebrating the rich history and color of the Americas. The pro- duction has been in the works since auditions began last Sep- tember and involves 45 dancers. Its four diverse pieces incorpo- rate cultural influences through the use of authentic costumes, music and movement. "It's been fascinating to work on," said MT&D Prof. Judy Rice, the artistic director of the pro- duction. The opening piece is a "MinEvent," which includes four pieces by the late modern dance pioneer Merce Cunningham, whose company will perform in Ann Arbor later this month. The piece is set to a live performance by the Digital Music Ensemble of John Cage's "Cartridge Music." "The music and the dancing happen simultaneously but are not necessarily involved with one another," Rice said. MT&D sophomore Alejandro Quintanilla, who is a member of the production, said that the live music presented a unique aspect of the production. "In the 'MinEvent,' dancers don't know what they're going to hear when they perform it," Quintanilla said. "The musicians do a lot of improvisation so the dancers have to count all the steps." The second piece, "Towards a sudden silence," choreographed by MT&D lecturer Melissa Beck, is inspired by the poetry of Hop- wood award winner and 'U' alum Marge Piercy. "It's a passionate work and an interesting piece to follow (Cun- ningham's)," Rice said. "I've seen it just morph, and every time I see it I want to see it again." Rice described the piece as being set in the late '50s and early '60s. Dancers wear costumes reminiscent of the era, incorpo- rating classic pillbox hats. "The movement connotes both constraint and struggle to break societal constrictions of the era," Rice said. "It's one of those piec- es that Melissa doesn't want to say too much about, because she wants the audience to take what they want away from it." The third and last piece before the intermission, "Tango con la vida," is a new piece choreo- graphed by MT&D Prof. Sandra Torijano. The work is tied to Latin American rhythms and culture with black dresses, bowler hats and bright red lipstick adorning dancers as they move to the music of the Latina Strings Ensemble on an elaborately set stage. "This piece is Sandra's cel- ebration of life, after struggling with leukemia for the past two years," Rice said. The final piece is perhaps the most anticipated segment of the show. Titled "The Summit," the number is a brand new work of guest choreographer Dianne McIntyre. "This piece has been the most fun I've had while dancing in a few years," Quintanilla said. According to Quintanilla, the piece is a narrative of two tribes separated by animosity, with one dancer trying to bring them together. McIntyre didn't start to cho- reograph the piece until January, after rehearsals began. Because the piece was actually choreo- graphed in rehearsal, its creation heavily depended upon the col- laboration of the dancers, musi- cians and the choreographer. "Sometimes it's a little slow because you have to figure out what (McIntyre) sees so you can do it," Quintanilla said. For Quintanilla, working so closely with McIntyre was an exciting experience. "Her movement style is very closely related to my movement style, which has- made it a lot of fun," Quintanilla said. "It's dynamic yet smooth ... it's realis- tic, it's not overacted or trying to be 'dancey.' I guess it's fluid with a punch to it." The music for "The Summit" is also played live. The ensemble includes bass, drums, guitar, flute, trombone and trumpet. "It's phenomenal to hear it," Rice said. "I was watching a rehearsal the other night and I had shivers." Through each step, leap and pirouette, emotion silently ema- nates from the stage. Dancers will spin stories through move- ment - sharingthe culture of the Americas. By JACOB AXELRAD Daily Arts Writer I remember it so well - the screaming fans, Simon's gri- mace as he folded his arms and glared at the young would-be singers and the yelps of fami- lies as triumphant contestants revealed they'd received those fateful words: "You're going to Hollywood!" There was Kelly, Ruben, Car- rie and Clay Aiken! Remember William Hung? That's right, the "She Bangs" guy - in case you forgot he was actually famous for a short while. He was famous because of "American Idol." The show used to mean some- thing. It was a landmark televi- sion event when it first aired, with the promise of turning a nobody into the next musi- cal superstar. And it worked. Since her first-season win, Kelly Clarkson has released four albums, one of which went multi-platinum and won two Grammy Awards. Aiken didn't even win, but he still became a pop sensation. Again and again the show lived up to its reputa- tion as a vehicle to stardom. Just making the final round provided fame for more than a few poten- tial Idols. This was back when Simon and Paula bickered and Randy remained neutral from his side of the table. But recently, things have changed. At first, it was vis- ible in the judging table. Singer- songwriter Kara DioGuardi was added as a judge in season eight. This was fine until both she and Paula dropped out. Then one day I turned on the TV and Ellen DeGeneres was hosting. Now, I'm no expert, but what does Ellen know about music? She may know a lot about hosting a daytime talk show, but singing, not so much. Where does that leave us now? On Jan. 19 Fox premiered season 10 of "American Idol." Ryan Seacrest still hosts and Jackson still comments and criticizes from his corner. So what specifically has turned this pop culture phenomenon into a shadow of its former self? Maybe it's the revolving- door judges seem to have gone through in the past few years (we're now on to Jennifer Lopez and Aerosmith's Steven Tyler). Or maybe it's the fact that, despite being rated number one "Steven, you don't have to wear Paula's clothes." for six consecutive seasons, the revealed he'd be looking for recent "Idol" winners have fall- someone with "voice" who's en short of the bar set by those got "the whole package." Well, of the past. If Kris Allen and Lee that's exactly what the show has DeWyze sound a tad unfamiliar been committed to for the past it's because they're the least suc- nine years. cessful "Idol" winners to date. I'm not demanding the end Or maybe it's the sheer fact that of "Idol." I'm merely proposing after nine seasons, the glory has that while it may be the most begun to fade. profitable of the talent-based reality, shows, we're not the audience that we were back in 2002. By this point we've seen Sy the formula adapted to count- though who less other genres. Think Fox's "So You Think You Can Dance," da eff is Lee CBS's "Live to Dance" and NBC's "America's Got Talent" De VYyze? - all of which employ a similar format complete with unknown hopefuls and a panel of judges reminiscent of the dichotomy In a way, watching the audi- first present among Randy, tions in the "Idol" premiere in Paula and Simon. Nashville, Tenn., was like the Perhaps I'm nostalgic for old days, but something was off. a time when it seemed like The contestants still shout their all anyone did on Wednesday dreams into the camera, and nights come springtime was we get to peer voyeuristically huddle around the TV and wait into the good, the bad and the to see who made the next round. ugly of the preliminary rounds Chances are the show will stay of "Idol" auditions. Except the around for a while, but winning unexpected has become expect- doesn't hold the same weight it ed. Lopez and Tyler bring little used to. The first few winners to the table that hasn't already were bigger than the show. Now been said, argued over and said each is only one of many to be again in the past nine years of cranked out of the Idol Machine. judging. This season's polite The allure of watching a wait- mocking of Allen Lewis, a pro- ress, paint store clerk or bar- fessional tattoo artist with the tender rocket to fame has been appearance of a Lynyrd Sky- played out over and over again. nyrd member, was tame in com- Maybe this season will hold parison to the days when Simon new surprises. It'd be great to would tear into contestants with see "American Idol" recapture little remorse or sympathy. In a the flare it once had. But I, for recent interview, Steven Tyler one, am doubtful. i Sequels gratify in gaming A rabbi and a priest walk into a shitty movie ... e Rite' is all wrong By TIMOTHY RABB DailyArts Writer Watch out, demons. Father Hopkins is here, and he doesn't play by the rules. His cassock is rumpled and undone, he's a relentless cat hoarder and he answers his cell phone in At Quality 16 the middle of and Rave his exorcisms. Yeah, bet you'll Warner Bros be surprised when he pulls that phone out and you discover that your demonic antics aren't the center of atten- tion anymore. That'll teach you to possess people. This playful anecdote isn't just a short snippet of "The Rite," but a summary of the whole film's attitude toward the practice of exorcism. The current demand for exorcists in the Catholic Church is as high as ever, and this film is a pitiful, irreverent homage to their sacred duties, regardless of whether you believe the symptoms of possession are spiritual or not. Young adult Michael Kovak (newcomer Colin O'Donoghue) decides to leave his father's mor- tuary practice to attend seminary. When his doubts lead him away from priesthood, a chain reaction causes a young woman's untimely death and a crisis of faith. At the behest of one of the seminary's priests) Kovak gives spirituality one last chance and leaves Amer- ica for a two-month stint as an exorcist's apprentice in Rome. It's hard not to suspect that several of the scenes depicting a timid Kovak and his father work- ing with cadavers were directly plagiarized from HBO's "Six Feet Under." The film finally starts to pick up and show some promise and originality in the second act, but eventually disappoints in the end with a textbook wrap-up. Fortunately, "The Rite" has a savior. Sir Anthony Hopkins does a wonderful job as Father Lucas Trevant, an experienced exor- cist whose tenacious, unchecked pursuit of demons leads to a dis- turbing final standoff between Kovak and the devil himself. But brilliant as it is, the performance is strewn in small bits throughout the film, and can't compensate for the otherwise-lackluster acting. Granted, a priest was suppos- edly present on the set of the movie, which lends credence to the possession scenes. The fact that the script is adapted from a book with real-life accounts doesn't hurt, either. But you'll be surprised at how many liber- ties it takes with the narrative direction. One minute someone's possessed; the next, dead. Then someone halfway across the world dies. Then someone else becomes possessed. Then anoth- er person, but this time it's not a demon, it's Satan himself. Pre- posterous storytelling. It's a tasteless Devil's stew - a hodgepodge of cinematic com- ponents have been wantonly dumped into a boiling pot, but everyone's simply too lazy to mix it all together. What you inevi- tably get in return is a chunky mess of a movie with a plot that meanders so lazily from beat to beat that we can't appreciate any I exorcised his demon with a nice chianti. real progression. Several riveting moments in the narrative bol- ster the sense of excitement, but a 110-minute film can't sustain itself without plenty of good con- tent, and "The Rite" ambles along far too lazily to be a good film. This adaptation from one man's real life account of priesthood could do so much more with such a weathered veteran of thriller/ drama films, but it trades tal- ent for amateurism and a typical Hollywood ending. "The Rote" would've been a better title. By SHIN HIEFTJE DailyArts Writer Sequels have often been frowned upon in film, as few sequels live up to the original. Rarely is this the case for video games. Because there are so many aspects that make up video games, there's always room for improvement in a sequel - be it the graphics, the story or a new game mechanic. While it's always ideal to wish for there to be more fresh titles coming out, the reality of the business is that making games is expensive, and creating a sequel to an established franchise will always be easier and financially safer than bringing out anuntest- ed name. But sequels shouldn'tbe bemoaned simply for being itera- tive. New games in a franchise usually only arise if the predeces- sor was good, which means that the upcoming product will most likely be better. I say all this because 2011 is shaping up tobe a year chock-full of sequels. It almost looks like there are more video games with a number at the end than without. Fortunately, most of these titles look really, really promising. Sony's two premier first-per- son shooter franchises, "Killzone 3" and "Resistance 3," are set to release on Feb. 22 and Sept. 6, respectively, and Microsoft's "Gears of War 3" is expected in September. All three of these games look beautiful and have the human race fighting against a race of ugly monsters of some form or another. Go figure. If yo ing iny is the n "Porta er with of hum have s1 Som includ "Mass ipated ing sci Effect' for a also "t on the of Nat: shootir liantly. b 0 Not want a instead of Zeld Wii, w one me remote Don'tI "Infam to a sli a prota power: fall. Wh: How a 3" on7 ante a tu want a little more think- the Marvel comics againstvideo- your shooting games, April game characters from Capcom's month for hotly anticipated published games. There's also 1 2," a shooter/puzzle solv- everyone's favorite gore-fest, a surprisingly great sense "Mortal Kombat" (essentially or where the only gun you "Mortal Kombat 9" rebranded) hoots portals. due out Apr. 19. e notable fall releases Traditional role-playinggames e shooter/RPG hybrid are also looking up, with the high Effect 3," the much-antic- fantasy "The Elder Scrolls V: conclusion to the sprawl- Skyrim. Developer Bethesda has -fi narrative of the "Mass been known for its "go anywhere, trilogy, which is slated do anything" philosophy to November release. There's game design, and its open-world Uncharted 3" following up approach will undoubtedly be globe-hopping adventures impressive again this year. han Drake, which merged Even the PC market is looking ng and platforming bril- strong. "Guild Wars 2," sequel to one of the most successful free to play massively multiplayer online role playing games, is set XT' even to be released on Nov. 2. Bliz- zard, famed creators of "World )other with of Warcraft" and Starcraft, is expected to release Diablo III this year as well, a hellish dun- ' geon crawler. This massive amount of titles doesn't even include original fond of shooters and properties, handheld games, an action adventure game downloadable games, lesser d? How about "The Legend known sequels or games yet to a: Skyward Sword" for the be announced - it's really kind hich now features one-to- of staggering. It's nice to wish for ovement between the Wii more innovation to come out of and the sword in combat. the industry, but at the same time, have a Wii? There's also it's exciting to see improvements nous 2" on the PS3, sequel being made in "2"s and "3"s. It's ck open world game about also great to see new entries in agonist with electric super established franchises, like "The s. Both are expected in the Elder Scrolls" and "Zelda," which can almost always be counted on at about fighting games? for quality. There may be a lot of bout "Marvel vs. Capcom sequels this year, but who can Feb. 15, pitting an inordi- complain when so many of them mount of characters from look excellent?