6 - Friday, September 23, 2011
The Michigan Daily - michigandaily.com
ONE DAY ONLY
Four plays in 24 hours
No limits in Austin
Austin City Limits
By LAURA KAYE
For the Daily
Basement Arts kicks off the
season with its annual "24 Hour
Theater" production. The event
is exactly as it's
named - theater 24 Hour
created in only Theater
24 hours. Four
writers, four Tomorrow
directors and a at11p.m.
full cast will put
on four produc- Walgreen
tions with only Drama Center
one day to pre- Free
pare full sets,
"Me and My Dick" was conceived as part of Basement Arts's "24 Hour Theater."
costun
The
at 11 p
hours.'
tors an
As a ft
writer
Music,
Neal K
where
ing at h
time.]
p.m. to
unveile
Ba
on
Last
ater"
vignett
to a se
are pol
otic, b
creativ
membe
to set a
coming
of ther
and My
tes and laughs. full-scale shows that Basement
four writers begin tonight Arts puts on later in the season.
.m. and work for about 12 Unlike other Basement Arts
Then it's time for the direc- productions, "24 Hour Theater"
id actors to get to their job. takes performances to a new
rmer director and current level by revealing to the audience
for the show, School of that theater is not about having a
Theatre & Dance junior perfect show but rather having a
.elley said it's a hectic day good time while on stage. Since
everyone needs to be work- the performers only have one day
igh speed with little down- to rehearse, mistakes happen, but
Finally, 24 hours later at 11 that's part of the experience. From
morrow, the four shows are forgotten lines to missed cues, the
.d to the public. actors go on with the show and
the audience delights in the casual
and sometimes reckless aspects of
sement Arts the performance.
Asafrttme writer for this
fast forw ard. year's show, Kelley gave us a sneak
preview of his script.
"I want to write something
where the audience doesn't see
year, the "24 Hour The- what's coming," he said. "I want to
production contained shock them and leave them think-
es ranging from a musical ing with an open-ended play. But
xual comedy. Some pieces of course, what's produced will
lished and others are cha- not be what I think it will be."
ut it's all about seeing the Above all, Kelley said that "24
e process function. The Hour Theater" is a special expe-
.rs are pushed to the brink rience that gives the audience a
high standard for the forth- chance to sample the possibilities
,season. In the past, some of live theater.
productions, including "Me It is often easy to overlook the
Dick," have developed into time and effort that goes into
making a production success-
ful. "24 Hour Theater," however,
makes the audience aware that
theater is a work in progress and
a collaboration of dedicated writ-
ers, directors, stage managers and
actors who make the production
possible.
Although the show is made up
of many students, the members
agree that their main concern is to
appeal to the entire audience.
"It is for people who haven't
seen a play in awhile, or ever, or
are thinking of joining," Kelley
said. "I want to encourage every-
one to get involved in theater and
the arts in Michigan."
He added: "I want people to
laugh. Making people laugh is
the most enjoyable thing one can
do - one of the greatest gifts you
can give. It's a high priority to
me. I want the audience to enjoy
themselves and appreciate the fact
that although '24 Hour Theater' is
somethingthat is thrown together,
it has the potential to make people
think, laugh and enjoy theater."
If you like your entertainment
formal and crave perfection, "24
Hour Theater" may not be for you.
But there seems to be something
here to entertain everyone else.
shows how a
festival should be
By EMMA GASE
Daily Music Editor
AUSTIN, Texas - When I
first walked through the gates
of Zilker Park last weekend
- home of Austin City Limits
Music Festival - I needed a
moment to marvel. I took a deep
breath of the 90-degree air and
gazed at Austin's skyline just
beyond the headliner stage,
wiggled my toes in the sump-
tuous green grass, noticed the
lawn chairs clumped around
trees and inhaled a tantalizing
scent of barbeque and Tex-Mex.
All I could think was: "This is
exactly what a music festival
should be like."
Last Friday afternoon, raspy
and soulful as ever, Ray LaMon-
tagne's mellow set was a nice
amuse-bouche to the festival.
Chart-toppers Foster the People
played an energetic show, closing
out with a killer techno-dubby
version of "Pumped Up Kicks"
and a dramatic stage dive. Once
the sun went down, however,
a schism was revealed among
ACL-goers: Those Who Went to
Coldplay and Those Who Have
Taste. I was the latter.
There's nothing quite like
witnessing thousands of heads
simultaneously turn to the sky,
hands throwing diamonds in
the air as Kanye West descends
like Zeus with "Can we get
much higher?" booming, while
a dozen furry-clad dancers
writhe primordially around on
stage. OK, so maybe it wasn't
Arcade Fire headlined Austin City Limits on Sunday.
exactly a huge surprise for
those of us who live-streamed
his Coachella performance in
April instead of studying for
finals, but seeing it on a tiny
YouTube screen really doesn't
do it justice.
Boxing out for Kanye meant
sacrifices - no Mavis Staples,
no Santigold, no beer and no
bathroom breaks. We endured
an entire hour of Nas and
Damian Marley spazzing out to
a weird conglomeration of reg-
gae and hip hop beforehand.
But being 15 to 20 people back
from the front row was worth
every bruise, elbowed rib and
flat-tired sneaker.
While the show's setup was
nothing short of extravagant
(the forklift, a ridiculously trip-
py light show, ballet dancers, a
medieval-looking background,
an outfit change), Yeezy's mic
cut out for a good portion of
his verses of opener "Dark Fan-
tasy," and his voice was hoarse.
The "He's totally gonna bring
out Jay-Z!" hype-fest circu-
lating through the crowd was
crushed when West jokingly
started rapping from Watch the
Throne: " "Ye can we get mar-
ried at the maalll ... ' Just kid-
ding, just kidding, wait for the
tour yall,"kto loud groans from
all.
On Saturday, Gillian Welch
and Dave Rawlings's arrivalwas
delayed a half-hour due to Skril-
lex's dubstep banger only one
stage away. When Welch finally
took the stage with Skrillex's
weird, squelching techno still
audible, she quipped, "Well, I
wasn't expecting the Martian
landing next to us, but I guess
we'll do what we can." The mar-
ried couple's rootsy, backcoun-
try harmonies and Rawlings's
absurdly talented guitar play-
ing made their show nothing
short of transcendent. No other
point in the festival provided
such intimacy between artist
and audience.
Saturday night presented a
conundrum: Is it worth it to
see a headliner - specifically
, .- ~ .
a legend like Stevie Wonder
- even if the sound quality is
poor, your view obstructed,
the crowd unnavigable and the
sound from My Morning Jacket
bleeding over so clearly as tobe
able to discern what song they
were playing? It was tough, but
we decided to cut our losses and
head over to Jim James and Co.
a few songs into Stevie. Luck-
ily, we arrived just as the band
launched into a face-melting
version of "Mahgeeta" that
saved the night.
"Let's get rowdy, this is
motherfucking Texas!" cried
Ryan Bingham of Ryan Bing-
ham and the Dead Horses on
Sunday afternoon. Maybe it was
because it was hot as hell, or
because there was a fiddle play-
er onstage, or maybe I was just
delirious from the heat - but
for the first time all weekend, I
felt like I was in Texas, dammit
- and I was feelin' it. Bingham's
gravelly voice, Southern twang,
distorted guitars and fiddle eas-
ily made him ACL's ideal act.
You never would have
guessed by the crowd that
Arcade Fire was the headliner
of Austin City Limits. Con-
sidering the band was the last
show, performing unopposed,
Grammy-album-winner-of-
the-year and a former Coach-
ella headliner, the audience
was kind of a buzzkill. Call me
naive, but I was expecting some
earth-shattering sing-along
action during "Wake-Up," and
all I got were some lukewarm
"Aaahs" from about every third
person.
As I made the 20-minute
uphill trek back to my car on
Sunday night to rally for the
three-hour drive back to my
house in Houston, I wasn't
thinking about my painful sun-
burn, my ruined sneakers, that
I was covered in probably a
dozen other people's sweat or
even that my hair was begin-
ning to dred itself - the only
thing running through my
mind was this: I need to move
to Austin one day.
RELEASE DATE- Friday, September 23, 2011
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
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Without Jay-Z, Kanye West closed the first night of Austin City Limits.