..ar Was: Episode 
Yes, folks, 15 days and counting until
Geroge Lucas unleashes 'The Phantom
Menace' on a far too expecting publc.

Meaeonafr o xpcigRuTc.TedaSf,

May 4, 1999 L



Angel will bless Harpo's

By Adlin RosU
Daily Arts Editor
The brutality and intensity that is
death metal's premier act, Morbid
Angel, will grace Detroit's Harpo's
this coming June
8th. The group
promises to give
a high energy
Morbid performance that
Angel will laude super-
Harpo's natural forces and
June 8, 8:00 p.m. please heavy
music fans in
attendance. "This
kind of music to
me is like a cere-
mony, a ritual... a
celebration of the
high spirit and
the spirit we have
inside ourselves, said Trey Azogthoth,
Morbid Angel mastermind/guitarist.
Since its formation more than a
decade ago, the group has been pro-
ducing album after album of high cal-
iber death metal. As with most groups
that have endured this long, Morbid
Angel has also had its fair share of
line-up changes. These changes,
though, have had very little effect on
the quality of the group's musical out-
put.
This music genre, however, has not
quite been lavished with the attention
it had in the early '90s. Azogthoth said,
"4 don't think it's trendy anymore, but
I think it's still around for like hard
core listeners and people who are real-
ly into it."


'Jekyll' proves
crowd pleaser

Even Angels hate waiting for Star Wars: Ep
"I think the good bands are still sur-
viving, you know the bands that have a
good style, good music, something
that makes them different from the
others, I think those bands are still
making things happen." Azogthoth
said.
Commenting on live performances,
Azogthoth said, "To me playing live is
headbanging, thrashing and just going

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pisode 1.
sick. To me live is more of like the acid
approach, the Jimi Hendrix approach
where you just bust it out, you just play
for the moment and go for the moment. I
can't get relaxed because the vibe is just
not that. The vibe is explosion and over
the top."
Morbid Angel's fondness for left field
spiritual beliefs may have a lot of people
worried about the possible negative
influence but Azogthoth has a very prag-
matic view on the matter and said that,
"Satanism is about making true choices,
freedom to decide what to do. It's better
to align ourselves with Karma, the ener-
gy of all things I call the living continu-
um. That is what I think true satanism
is about."
Write for
Daily Arts
763-0379
Aeria rdae s o toprci
ered, clerkships availabe. ANi you need is
to have completed preamedleal require-
ments. -
For mornifenation call
404 355 1412
or 770 465 9966
We ca be centcted viasmail at
admlssions@aism.edu
Our web address is

By Christopher Tkaczyk
Daily Arts Writer
Just as there is good and evil in
all people, the same is true for any
Broadway musical. Just like its
title character, Frank Wildehorn's
"Jekyll and Hyde," is no excep-
tion.
In this version of the tale,
Jekyll and Hyde are not two men:
The conflict lies within one man's
mind -
good fights
F pkl evil on the
battefield of
Jekyll and one human
Hyde bod y .
Imagine an
FisherTheater angel and
Through May 9 devil, the
advocates of
"a conscience,
sitting atop
opposing
shoulders,
vying for
control of
the con-
scious. Getting inside a man's a
head is one feat. Setting it to
music is another.
And that's where Wildehorn
succeeds. His lush pop score con-
tains ear-pleasing numbers and
catchy ballads.
But taking the story into
account, "This is the Moment,"
Dr. Jekyll's triumphant moment of
discovery, doesn't belong. In
seems best as the background
overture to spinning skaters at the
Ice Capades.
. Unfortunately, audiences seem
to love this stuff.
Hut what Wildehorn has forgot-
ten to do is to make the story excit-
ing. Robert Louis Stevenson was
able to uphold a dramatic climax in
the novel, but Wildehorn fails to
pull the conflict out of Jekyll's
head, and instead goes for the
romantic jugular by turning the
devilish doctor into a romantic
hero anti -hero.
The two women who love him,
Lucy the whore and Emma the
debutante, are both unable to bal-
ance his mental state, due to
Edward Hyde's incorrigible reap-
pearances.
Leasing out certain characters
in order to make more onstage
space is excuseable, but omitting
important figures from
Stevenson's original has damaged
the work, simplifying the plot.
Challenging an audience's atten-
tion isn't a bad idea, Frank.
Detroit marks the first stop for

this national tour of the successful
Broadway production. In full tow
come the original Broadway sets
and costumes, along with an abun-
dance of professional talent.
Chuck Wagner, who portrays
Jekyll/Hyde, was born to play the
part. His strong baritone voice
changes quickly and smoothly into
the overheated grunts that define
Hyde. His quick transformations
between characters is a highlight
of the show, as are his perfor-
mances of "Alive" and
"Confrontation."
Sharon Brown portrays a vampy
Lucy, with a full set of shrilling
pipes and coyish tricks. She stops
the show with the strip number
"Bring on the Men."
As Emma, Andrea Rivette rings
clear as a bell, but refrains from
becoming the true romantic coun-
terpart to Dr. Jekyll by remaining
too stiff for her own bodice.
The only thing that's surprising
about Dr. Jekyll's suicide at the end
of the play is that the audience actu-
ally gasps in shock. For a show that
explains how a person is responsible
for both his moral and hellish
actions, it shouldn't come as a
surpise that justice is finally served.
"Jekyll and Hyde" runs through
May 9th at the Fisher Theater in
Detroit. Call (313) 872-1000 for
more information.

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