10A - Tuesday, September 6, 2011 The Michigan Daily - michigandaily.com iDA - Tuesday, September 6, 2011 The Michigan Daily - michigandaily.com Where the big shows go Exploring the University's on-campus * performing arts scene By Jacob Axelrad I Daily Community Culture Editor Badass ballerinas Wynton Marsalis, Enrico Caruso, Leonard Bernstein and Yo-Yo Ma are only a few of the many world-class artists who have visited Ann Arbor over the years, courtesy of the Univer- sity Musical Society, one of the nation's oldest and most pres- tigious university presenting organizations.. Each year audiences attend shows of the highest caliber at top Ann Arbor venues, including Hill Auditorium, the Mendels- sohn Theatre, Rackham Audito- rium and the Power Center for the Performing Arts. Accord- ing to UMS president Kenneth Fischer, these performances are intertwined with the Universi- ty's fundamental mission: teach- ing, research and service. "Research in my field means playwrights, choreographers and composers creating new art," Fischer said. "Every time those new works are performed throughout the world they bear the university logo on them." As opposed to Michigan State University's Wharton Center, which is widely considered to be the "Broadway house" of cen- tral Michigan, the University of Michigan does not generally sponsor pop artists, rock shows or comedians. But this was not always the case. "There have traditionally been four presenters at the uni- versity: UMS, the Major Events Office, University Productions, and the School of Music, Theatre & Dance," Fischer said. Founded in 1879 when four local church choirs came togeth- er to perform Handel's "Mes- siah," UMS is an autonomous yet University-affiliated non-profit that rents campus facilities and considers the University to be its "best partner." UMS prides itself on bringing the "town and gown" together - exemplified by norms such as the Berlin and Vienna Symphony Orchestras, the two great symphonies of the world, making their way to Ann Arbor on a regular basis. Additionally, an unusually large amount of artistic freedom coupled with the collaboration of over 70 academic departments make for a premiere perfor- mance destination with a twist: The University's stages are not just stop-off points for a touring show. They're an extension of the classroom. "We always let the artists play what they want to play, and they love seeing young people and students in the crowd," Fischer said. "Scholars and students Wynton Marsalis is one-of the noted artists who have been presented by UMS. come together to make what's on stage understandable." From its partnership with the Royal Shakespeare Company - a series of residencies that includ- ed classes and symposiums geared at deepening audiences' understanding of the plays - to performances of contemporary music of the Arab world, UMS inhabits a large niche of the per- forming arts. It is not, however, one that caters to what Fischer terms "bus and truck shows." With UMS specializing in its own brand of the performing arts and University Productions and the School of MT&D focus- ing on student shows, it used to fall to the Major Events Office to produce large-scale commer- cial concerts. For a long time, this is just what it did. Accord- ing to Fischer, the Major Events Office brought Elton John, The Grateful Dead and Bill Cosby to Crisler Arena. A combination of differing objectives between the Universi- ty and its East Lansing neighbor, a lack of the necessary facilities at the University and advance- ments in Detroit created a situa- tion in which the University was unable to remain a feasible des- tination for touring pop artists. MSU emerged to fill thisvacuum. "There are certainly program- matic differences between what See SHOWS, Page 12A 'Rip Tide' floats dreamily on By Julia Smith-Eppsteiner C Daily Arts WriterA n a recent midnight excursion to Wal-Mart, my friend and I found ourselves wandering aimlessly down the Home Goods aisle when we were sud- denly blinded by an over- whelming explosion of pink ribbons, pink sequins and pink glitter. The LAUREN preschool-age CASERTA bedding set - that was the source of the ocular assault had been plastered with seam-to-seam images of cartoon ballerinas, each accompanied by the phrase, "I'm a Pretty Pretty Princess!" "Either Wal-Mart just doesn't care, or they honestly don't know the difference between a princess and a ballerina," I mused out loud. "Probably a little of both," my friend admitted as she examined a tulle-covered lampshade. "But aren't they essentially the same thing at heart? I mean, a ballerina is just a damsel in distress that has to walk on her toes." Her opinion is understandable. Not many people have seen a bal- let in person, and I've received more than one sarcastic excuse when I've asked people to tag along to a show with me ("Sorry, I left my top hat and monocle at home.") Popular media and advertising outlets tend to portray ballet performances as snobby, shallow and lighthearted romps whose female characters have been cobbled together from a mixture of sunshine, glitter and marshmallow fluff- not exactly feminist role-model material. Thankfully, the idea that female dancers are trapped in bal- let roles that frame them as naive and submissive dolls is way off target. In fact, even a quick glance at some of history's most popular shows proves that many female characters not only defy common- ly held gender stereotypes, but also blatantly challenge society and the supernatural while deal- ing their enemies a (metaphori- cal) kick in the tutu. Just look at the heroine's cour- age in "Giselle," one of the roman- tic era's most popular ballets. It's a typical story of boy meets girl, except the boy eventually sur- prises her with his aristocratic lineage and she has heart failure. She is then summoned from her grave as a ghost by vengeful Slavic spirits called Wilis. (Ever wonder where the phrase "gives me the willies" comes from? Now you know.) Despite beinga zombie- ghost, Giselle puts her foot down and refuses to let the Wilis's queen dance her ex-boyfriend to death. She ends up holding off the hoard of angry spirits alone for an entire night, sending him safely on his way at sunrise. "Coppilia" features a protago- nist whose cleverness ends up saving her boyfriend's immortal soul. Swanhilde is horrified when she discovers the local life-sized dollmaker has kidnapped and drugged her fiancee so that his life force can be used to power his most beloved creation. Knowing that ahead-on assault would be useless against an evil wizard- toymaker, she breaks into his shop and secretlytakes the doll's place. After completing an impres- sively improvised dance routine to convince the sorcerer that his spell has succeeded, she winds up every doll in the room and sets them loose, allowing her to drag her woozy beau to safety during the ensuingchaos. And that's just the start. Kitri of "Don Quixote" follows her heart and refuses the arranged marriage her father desires. The eponymous protagonist of "Scheherazade" uses her wisdom and creativity to weave the 1,001 stories thatkeep a murderous king from killing her. A refreshing departure from Disney's version, Ashton's "Cinderella" takes place in one chorus dancer's fairytale daydream about becoming a prima ballerina, which she later makes a reality after exploring her identity and proving to herself that she was capable of the part all along. Of course, a few exceptions do exist. The title of "Sleeping Beauty" is self-explanatory and the ballet makes no secretcof the prince's desire to save the prin- cess based solely on her attrac- tively snoozing face. Modern versions have even changed the gift given by the fairy to the infant princess from "an ear for music" to "wisdom" in a halfhearted attempt to give her character some substance. I suppose it's the thought that counts. Sugar and spice and not so nice. But for every sleeping beauty, there's a fiery Carmen - the toughest character to ever wear a tutu. Based off of her operatic counterpart, Carmen is a gypsy who (depending on which varia- tion is performed) smokes cigars, escapes from police custody and even stabs another woman in the face with a knife. Capricious and free-spirited, this feminist will allow no man to tie her down. Her scandalous promiscuity through- out the ballet highlights the double standards associated with female sexuality, and it comes as no surprise that the independent Carmen can only be subdued by death when she is killed by one of her jealous lovers. Whether through the raw power of a firebird or the well- timed wit of a schoolgirl, ballet has quietly fostered a stunning cast of competent and courageous women. Although obscurity and popular culture often dilute them down into bright and bubbly air- heads, it would nevertheless be unwise to underestimate abal- lerina in character. Far from mere damsels, these heroines have bested fate, death and everything in between - all while standing on the tips of their toes. Caserta is a damsel in distress. To be her knight in shining armor, e-mail caserta@umich.edu. q 0 The nine-track listening experience of Beirut's late sum- mer, moderately anticipated album is bet- ter than the * title The Rip Tide suggests. It's the ideal album for a The Rip Tipe train ride, or Pompeii Records any ride, for that matter. Drive, allow thoughts to trail off with the scenery or nod into dreamland. The simultaneously baby-faced and sexy New Mexico native Zachary Francis Condon has led the six-person, rotating lineup to worldwide alternative success for the past six years. As The Rip Tide keeps its leisurely distance from the Eastern European, gypsy- rooted sound of the band's debut record, Gulag Orkestar, our ears are left vaguely missing the spice of past worldliness. The Rip Tide is not the most exciting album to peek its indie crown out of the studio, as some of the tracks can blend together in a whirlwind of horns - but it's still a complex and goosebump- inducing product. Although drawing less from his Balkan influences and now nestling somewhere into American pop, Condon manages to generate a sound that is undeniably his cre- ation, and it's a simple beauty. For his third LP, Condon has complete recording rights of The Rip Tide under Pompeii Records, which he founded this year. Lead single "East Harlem" strikes at the album's reverent cord. Aside from this expected leader of the pack, "Goshen" and title track "The Rip Tide" reach a level of intimate, calming ear candy like the best-flavored Chamomile tea around. "Santa Fe" lifts the album out of its solemn persona. On this refreshing track, with a beat pleasantly easy to pick up on, Beirut will set listeners adrift, but won't rock the boat. Condon's voice is deeply brewed as he delivers, "Your days in one / This day undone / The kind that breaks under / All day at once / For me, for you / I'm just too young." The tender lyrics of "Santa Fe" abstractly relate to the young man's experience in his hometown. In an interview with Time Entertainment, the 25-year-old Condon said, "As a teenager I felt like everything I experienced wasn't very relatable or exciting. 0 6 6 "Wait I thought you said ladies love the accordion?" So I developed this sort of wan- derlust as I tried to find my own identity." It seems he has always had an aching to try on music from other cultures, but on his junior effort the sound is more self- pronounced and impactful as he breaks away from his world- music-guy stereotype. If there's one complaint about The Rip Tide, it's that it's too accessible. On tracks like "The Peacock" and "A Candle's Fire," it is easy to passively accept the instruments' sway. Risk has been left untouched here. Take The Rip Tide in with welcoming arms as a staple food to save for the storm, for when you need that calming sanctu- ary. But have no worries, Con- don is still the same charming, ukulele man-boy. a 1 11 mm MMMFMPmmmmmllNML= I UNIVERSITY OF MICHIGAN www.kines.umich.edu/umove 3064 Central Campus Recreation Building 734.764.1342 I u-move@umich.edu 6 35%a-45 cneaper than online stores on average Check out the fall schedule online now!