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F
Favorable tidings
or 'Sea Legs'
Friday, February 21, 2014 - 5
Student-run
production to
captivate hearts
By REBECCA GODWIN
DailyArts Writer
One of the last lyrics in Base-
ment Arts's upcoming show "Sea
Legs: A Nautical New Musi-
cal" is "Sweet
Ann Harbor is Se Legs:
always here for A Nautical
you / No matter
where you go / NewMusical
No matter what
you do." While Fridayat7p.m.
the lyric refers and Saturday
to the tiny fic- a 3p.m.
tional town that and 7p.m.
plays a central Walgreen
role in the pro- DramaCenter
duction, it's no
accident that Free
the town's name
sounds like Ann Arbor. The name
of the town - and the sentiment
expressed in the lyrics - were
purposeful decisions made by
School of Music, Theatre & Dance
senior Tyler Dean, who wrote the
book and lyrics for the show, and
Wayne State University senior
Michael Tooman, who composed
the music.
"My sophomore year, we did
a musical called 'Zombie Farm:
A New Musical' and it tells the
story of someone trying to figure
out where their home is, which
was fitting for an underclassman,"
Dean said. "And this one is more
about figuring out where your life
is going, so one is kind of an entry
musical and one is an exit musi-
cal."
While the show may touch
seniors as they prepare to depart
from the University, many will
find the show to be a comical
and wildly entertaining tale. The
story revolves around four friends
who live in the small New Eng-
land town of Sweet Ann Harbor
and spend their lives dreaming
of adventure out at sea. They are
faced with more adventure than
they can possibly imagine, how-
ever, when the refugees of the
underwater utopia, Periscopia,
converge on their town deter-
mined to find the man responsible
for destroying their underwater
haven.
Creating a production is quite
difficult, but the cast and crew of
"Sea Legs" was challenged to cre-
ate a brand new, full-length musi-
cal with a cast of 17 (far larger
than most Basement Arts shows)
with onlythree weeks to rehearse.
Director and recent SMTD gradu-
ate Taylor Norton was more than
up to the challenge, though, hav-
ing directed Dean's first musical.
"Since I directed 'Zombie
Farm' for Tyler and Mike in our
sophomore year, I had a pretty
good idea of the style of their work
going into it," Norton said. "And
because we only have a three week
rehearsal process to put this show
together there isn't alot of time for
character development and choic-
es and things like that, and soa lot
of the choices that affect the show
are made in casting."
Because the show required
more performers than past pro-
ductions, Norton, Dean and the
rest of the crew had a large group
of actors to choose from.
"I loved callbacks because it
was just like this 'Hunger Games'
arena," Dean said. "Everybody
brought such uniquely different
things and it was just so exciting
because there were just so many
possibilities."
While the actors brought a
spin to the characters Dean cre-
ated, the characters on their own
are already idiosyncratic. Dean
enjoyed playing with the names
of each character and matching
those names to their personali-
ties. What he came up with ranges
from the aptly named Red Her-
rington to the tongue-twisting
Cecil Seashells.
Dean also provided the actors
with in-depth character sketch-
es to help them to discover and
develop their roles. SMTD senior
Zoe Kanters, who plays Lieuten-
ant Litzche, found the character
descriptions to be particularly
helpful in figuring out her char-
acter.
"The text is pretty explanatory
of who each person is between
their songs and the way they
interact with everyone," Kant-
ers said. "And Tyler creates these
wonderful character sketches, so
without even reading the script
you can picture the characters."
Norton hopes that the show
will transcend simple entertain-
ment and touch a few hearts along
the way.
"This show is all about starting
your own adventure and I think
for some graduating seniors, that's
going to really rip some people
apart in a good way," Norton said.
"I mean I am such a sap so I'm
going to be weeping at the last
number."
CASH MONEY
"My goal is to have the largest residential pool in the world"
Drake's worst beha..vior
By ALLEN DONNE
Daily Arts Writer
On his last album Nothing Was
the Same, Aubrey Drake Graham,
said he was on his worst behav-
ior, and he has finally held true to
that statement.
This past week, the notori-
ously emotional and soft rapper
went on the interview circuit to
express himself it may have been
the questions he was asked, but
Drake spared no one mercy in his
recent interviews. Starting with
his thoughts on Macklemore's
text to Kendrick Lamar following
the Grammys, Drake told Rolling
Stone that "that shit was wack as
fuck." He continued by express-
ing how "cheap" and "not genu-
ine" the text message was.
While it may be true that
Macklemore felt Kendrick's good
kid, m.A.A.d city was the best
album of the year, Drake feltevery
nominee deserved a text from the
Seattle rapper. The indication
here is that Drake felt his album
was just as good as Kendrick's.
After all, many fans believed
there was a beef between Drake
and Kendrick. Some even thought
that Drake directed the introduc-
tory lyrics from "The Language"
toward Lamar ("I don't know
why they been lyin'/ but your shit
is not that inspirin' ").
In fact, Drake's confidence
seems so built up that he even
criticized Kanye West's new
polarizing album Yeezus. The
Toronto rapper specifically men-
tions Kanye's "Swaghili" line
being questionable. As to not
seem too bold, Drake did qualify
that Kanye is one of the greats.
If not for Kanye, Drake may not
be making the music he makes
today.
In another instance, Drake
spoke his mind about Jay Z's new
content. When visiting the James
Turrell Retrospective at LACMA,
Drake gave his thoughts about
artwork. He claims that Turrell,
known for his work with light and
space, was a huge visual influ-
ence. Drake's appreciation for art,
however, would never be a part of
his music. He elaborated, saying
that "Hov (JAY Z) can't drop bars
without at least four art referenc-
es" and the "whole rap/art world
thing is corny." While this com-
ment wasn't a shot at JAY Z, this
comment seemed oddly specific
and alarmingly bold. It appears
that Aubrey has finally forgotten
about his exes and has come to
terms with himself.
When the Rolling Stone mag-
azine finally came out, Drake
expressed his frustration with
journalism. The cover was sup-
posed to feature Drake. Instead,
Rolling Stone ran a memorial
issue for Phillip Seymour Hoff-
man. Though Drake paid his
respects to the recently deceased
actor, he also tweeted about the
evils of the press. He concluded
by saying he's "done doing inter-
views for magazines" - now,
his only goal is to produce great
music. Hopefully, this promise
pans out.
The 'U' gets 'Hay Fever'
A
BACK LOT
You're wearing the wrong hat.
Oscar song breakdown
By GREGORY HICKS
DailyArts Writer
Think that the Academy only
considers the edgiest, most pro-
found material for awards night?
You might be "happy" to hear
otherwise. The 2013 Oscars cast
a mighty gloom on awards night
with Adele and Paul Epworth's
award-winning "Skyfall," but
no such song compares to 2014's
cheery round of nominees for Best
Original Song. Here's the musical
breakdown, inallofitspeace, plea-
sure andpassionate liberation.
"Happy" by Pharrell Wil-
liams, from "Despicable Me 2"
Even after the success of his 2013
productions, Pharrell Williams
refuses to hitthe brakes and crash-
es into this latest international
chart-topper. The pop-soul groove
- a vibe typically channeled by
Janelle Monie and occasionally
Bruno Mars nowadays - was writ-
ten and produced exclusively by
Williams; quite the testament to
the hit-maker's ability to churn
out a track worthy of many types
of award nominations. While the
song is deserving ofits nomination,
the dance-along, clap-along, feel-
good track for this animated chil-
dren's film proves to be just that: a
track targeted at children, likely a
tad too simplified and juvenile to
garner awin.
"Ordinary Love" by U2, from
"Mandela: Long Walk
toFreedom"
Who better to recruit for a "long
walktofreedom"thanthosethatso
notoriously "walk on?" While U2's
tribute to "Mandela" has the pro-
duction value of a watered-down
Mylo Xyloto track (perhaps result-
ing from Chris Martin's writing
contribution) it packs a weighted
message, nuanced by the compan-
ionship between the group and
Mandela. The tag-team formed
zel, swept in fromBroadway to belt
out this lead single for the Oscar-
nominated film, "Frozen." The per-
formance is impeccable, driven by
its lyricalcomposition (deliveredby
a Broadway superstar) and dynam-
ic emotional range, both melodi-
cally and lyrically. What might be
news to most, however, is that the
song's composers, Robert and Kris-
ten Lopez, wrote the piece specifi-
cally for Menzel. The performance
alone could single-handedly snag
the win for this track.
"TheMoonSong"byKaren 0,
from"Her"
By GRACE PROSINEWSKI
DailyArts Writer
What do Maggie Smith, Judi
Dench, Lynn Redgrave and
Dan Stevens all have in com-
mon? Besides
being amaz- Hay Fever
ingly talented
and British, February 20
all four thes- to23. 8p.m.
pians at some Thursday-
point in Saturday,
their careers 2p.m.Sunday
starred in
Noel Coward's Lydia
high farce Mendelssohn
"Hay Fever." Theatre
With a pedi- $10-$28
gree like that,
it's no wonder
the play was
chosen to be a University pro-
duction.
Noel Coward, known for his
directing, acting, songwriting
and publishing of more than 50
plays, based "Hay Fever" on the
wild weekend parties thrown
by Hartley Manners - a friend
and fellow playwright - and
his melodramatic actress wife,
Laurette Taylor.
The play follows the wacky
exploits of the Bliss family, an
eccentric bohemian lot living
in an English country house.
Without consulting the other
family members, each one of
the Blisses invites a guest to
spend a weekend at the home.
However, things go awry
when each family member
pairs off with a visitor other
than the one they invited.
What ensues is a tidal wave
of romantic entanglements,
comic misunderstandings and
of course, outlandish behavior.
Unique to the University
performance, some of Cow-
ard's songs will be added into
the show between acts. School
of Music, Theatre & Dance
senior Alex Madda, serves
as the music director for the
production and spoke about
the preparation going into the
performance.
"As music director," Madda
said, "I tested the voice ranges
of the singers and worked with
the director to select music
that best captured the essence
of the writing," she added.
"Also, the actors in the show
did a lot of research about the
life o
as hi
the li
round
Thi
play I
essen
set in
it exe
era.
(
gu
"TI
ture t
styles
Charl
"It's
wit-fi
a con:
"At
mover
'20s,"
on to
movir
forme
f the playwright himself, When asked who her favorite
s plays really embodied character in the play is, Madda
ves of the people that sur- skips right over the biting wit
led him." and intellect of the Bliss family
is is perhaps why the and lands on the daft flapper
has such a lively, unique guest, Jackie.
ce. "Hay Fever" isn't just "I find the character of
the 1920s; in many ways Jackie the most interesting,"
mplifies the spirit of that Madda said. "Her dimwitted
nature contrasts the intelligent
wit provided by every other
character. In a play centered
around fast-paced comedy, she
"assic farce contributes a refreshing air of
aranees 01S. stupidity."
arantees lois. tSo whether you're interested
in caustic wit akin to that of
the "Algonquin Round Table,"
or perhaps something more in
his show doesn't just cap- a satiric comedy of manners,
he 1920s through the hair "Hay Fever" has it all and can
, shin length skirts and maybe even teach you a little
eston music." Madda said. something about humor.
written with a brilliantly "We would hope," Madda
lled refinery, mixed with said, "that audiences would
temporary cynicism." learn a thing or two about the
nd I think that was the battle of wit and the power to
ment occurring in the words. We want them to leave
Madda said. "People held the theatre extremely enter-
the refined past, while tained and overcome by laugh-
ng towards a more free ter."
rd future."
betwee
ger M
for reel
the Gol
v
01
C
"Let
Disn
rn Bono's lyricism and Dan- Looks as if there is some consis-
ouse's melodies bodes well tency between the 2013 and 2014
ingin an Oscar, as it did with nominations: another Scar-Jo
Iden Globes. vocal performance blazing a trail.
But wait! Johansson's film perfor-
mance of "The Moon Song" isn't
up for the nomination - Karen
Veighing in O's soundtrack version is. Both,
however, feature the rasp-whis-
a this year's pered -female vocals that lull a
listener into "lying on the moon."
ontenders. The track is delicate in style, but
coarse in every sense of perfor-
mance-production, which begs
the question: Will shoddy record-
ings, pitchy vocals and disjointed
I It Go" by Idina Menzel, strumming patterns give "The
from"Frozen" Moon Song" character? Or will
this knock the nominee out of the
ey's latest muse, Idina Men- contender's ring?
INSTITUTE FOR SOCIAL RESEARCH
RESEARCH CENTER FOR GROUP DYNAMICS
UNIVERSITYOFMICHIGAN
Winter 2014 Seminar Series:
New Science on Race, Discrimination
and the Social Lives of Black Americans
1 "To be a Black Man is an
Uphill Battle Everyday":
Intersectionality, HIV/AIDS
& Black Heterosexual Men's
Sexual Risk Behaviors
February 24, 2014 Institute for Social Research
3:30-5:00 p.m. 426 Thompson Street
Room 6050
Free and open to the public
Follow us: @umisr, @rcgdjisr
Join the conversation: #RCGDseminar
More information: http://bit.ly/RCGD-seminar
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