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. 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