Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Determination
5 One often
schmeared
10 Get entangled
(with)
14 “It depends”
15 Have __ for news
16 Ended a flight
17 Blue
18 Suppress
19 George Lucas
group
20 Semiprecious
stone
21 Sends out
22 Roast’s roost
23 2014 U.S.
Women’s Open
champ
24 Hamlet, for one
25 Succumb to
pressure
26 Choose not to
pick?
29 Bit of cheering
31 __ kwon do
32 Tiff
34 Computer outlet
supply
35 Bruin legend
36 Furniture
designed for
portability ... or,
what are found in
this puzzle’s
circles
40 Swung thing
41 Winged god
42 Alf and Mork,
briefly
43 Aegean Airlines
hub, on
itineraries
44 Dauphins’ play
area
45 Really beat
49 Relatives of
emus
51 Exchange
55 Frito go-with?
56 Muppet with a
unibrow
57 Hosiery shade
58 Unusual
59 “__ la Douce”
60 Playground
denial
61
“Metamorphoses
” poet
62 Operation
Solomon carrier
63 Symbol of
authority
64 “See you
around!”
65 Word sung on
New Year’s Day
66 Belgian
expressionist
James
67 46-Down, for one
DOWN
1 Isolated lines, in
typesetting
2 Go-getter’s
phrase
3 Many a character
on “The Good
Wife”
4 Web browser
since 1992
5 Derived from,
with “on”
6 Jungian concept
7 Was accepted as
a member
8 Abstruse
9 Eye part
10 Significant
11 Vertical shuttle
12 Auxiliary seating
units
13 Really tough
puzzle, say
25 Has an ace up
one’s sleeve
27 Healthcare.gov,
for one
28 Computer outlet
supplies
30 Workout woe
33 Telegram
34 British sports cars
36 Like some advice
37 2008 love triangle
film, with “The”
38 Viking
39 Follower’s suffix
40 The first ones
were introduced
in blonde and
brunette in 1959
46 Eleventh-century
Scandinavian
leader
47 Contralto
Anderson
48 Half-wild Asian
canine
50 “And thereby
hangs __”: Shak.
52 They may be
measured in
knots
53 Disco era term
54 Pan on Broadway
57 Immortal Yankee,
with “The”
58 Sway
By Jeffrey Wechsler
©2015 Tribune Content Agency, LLC
04/16/15
04/16/15
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6A — Thursday, April 16, 2015
Arts
The Michigan Daily — michigandaily.com
‘The Music Man’
comes to SMTD
Classic musical to
be performed at
Power Center
By CAROLINE FILIPS
Daily Arts Writer
Sauntering about the unexpect-
edly massive lawn of the Power
Center, I approached each door
only to find they
were all locked.
One hand was
pressing
my
phone to my ear
for a daily check-
in with mom,
the other pulling
each door handle
to no avail.
“Didn’t
she
say to use the
stage
door?”
I struggled to
remember, as I kept repeating the
question to my mom, fully tuned
out to whatever she had to say.
Eventually I made it to the back
of the theater and was greeted
by a translucent-glasses-clad lad
exchanging cash for a presumably
No Thai!-filled bag … two dead
giveaways of a collegiate actor.
This year School of Music,
Theatre & Dance is presenting
the
romance-tinged
comedy
under the direction of University
alum Linda Goodrich, a BFA of
the school and current associate
professor of musical theater. The
show is “Music Man,” which she
considers to be the one of the best
in musical theater.
What began as Wilson’s extraor-
dinary novel later became a staple
of the “Golden Age of Musical The-
atre” in the late ’50s with a quirky
script and endearing lyricism also
crafted by Wilson. Originally pre-
miering the same season as “West
Side Story,” “Music Man” snagged
the Tony Award for Best Musical
in 1957 and remains a time-hon-
ored Broadway hit.
“The Music Man” withstands
the test of time with its quintes-
sential simplicity — a relatively
unintellectual piece of theater
punctuated with a unique viva-
ciousness throughout. Set in the
early 1900s in the deep Midwest,
the plot centers around the con-
man Harold Hill and his grand
scheme to hoodwink the bucolic
‘Iowa Stubborn’ townsfolk of the
city. As a unique breed of charla-
tan, Hill’s goals aren’t initially seen
as criminal, as he convinces them
he will save the impressionable
youth by way of music education
– selling instruments and estab-
lishing a marching band within
the city. Seduced by his charm,
blinded by his charisma and fooled
by his conviction, the townspeople
succumb to his act, save an incred-
ulous librarian who — well I won’t
give everything away.
“Didn’t Director Goodrich say
to use the stage door?”
I followed the actor through the
mysterious world of the backstage,
the savory scents of his takeout
wafted behind him, and I real-
ized I’d forgotten to eat dinner.
As I pondered the solutions to my
comestible conflict, I took a wrong
turn and ended up onstage.
Between squinting into the
lights and struggling to find my
way, along with being rattled by
the unexpected booming orches-
tra, I was more than a little jarred,
amazed at how actors deliver in
these conditions, albeit while
singing memorized lyrics, speak-
ing memorized lines, and dancing
choreographed movements.
In my final strong squint, I rec-
ognized Linda, and descended
from the stage to introduce myself.
She spoke excitedly of the show
because, well, why wouldn’t she?
It’s been Goodrich’s big project
since auditions began in Janu-
ary, a time when she was eager to
assemble a cast as energetic and
charismatic as Meredith Wilson’s
original troupe. Congruent with
this vision, the show also cast local
children. Rather than attempting
to imitate or put a unique spin on
the show, Goodrich makes a point
to honor and accentuate the bold
personalities
that
characterize
“Music Man.”
“We have a lot of comic char-
acters in the play, and it’s really a
kind of specific style of comedy,”
Goodrich said. “We were looking
for students to handle the lan-
guage and understand the comedy
of the period.”
She stated that the show boasts
a full orchestra of 24, rather than
the usual 18-member pit, which
explained my brief stint of stage
fright, but I kept that to myself.
Knowing she had a show to run,
I ended our casual chat, but as I
walked away she recommended I
have a seat in the mezzanine (her
preferred seating area) for its opti-
mal full-view. Sure enough, the
theater expert was right.
As I assessed the scene, looking
at the old-timey drop-down show-
casing detailed illustrations of key
scenes within the show’s setting
in River City, Iowa — the Madi-
son gymnasium, park, library,
railroad and Main Street — I was
transported back in time for a
moment, a feeling that persisted
throughout the show. I remem-
bered why I and other artistically
attuned nerds resort back to the
classic pieces of literature, art
and, in this case, theater.
There’s a reason the classics
are classic, and a reason why
timeless
musicals
like
“The
Music
Man”
have
enjoyed
that
distinction
for
nearly
half a century. Time-honored
mainstays of American theater,
like “Music Man,” are ultimately
ageless with distinct character,
vibrant soundtrack and heart.
The show opens on a bevy of
bachelors clad in pinstripe and
plaid delivering knee-slap-wor-
thy puns and delightfully awk-
ward body language. It was then
that I suddenly understood what
Goodrich was referring to when
she explained the show’s unique
brand of physical comedy that is
nearly extinct in contemporary
theater. I found myself enticed by
the era and enchanted by this fan-
tastically overzealous production.
For two and a half hours, I
was captivated by the energy of
SMTD’s “The Music Man,” and
equally drawn to the wit of the
period and the swagger of its
Harold Hill. By the finale, after
ordering Jimmy John’s at inter-
mission, I had a full stomach and
a full appreciation for the theat-
rics of the show.
Recalling Goodrich’s favorite
line of the show that encapsulates
the unintentional example Hill sets
for the townspeople of River City.
Goodrich pointed to the show’s
message, expressed in a line by
Harold: “You pile up enough
tomorrows, and you’ll find you are
left with nothing but a lot of empty
yesterdays. I don’t know about you,
but I’d like to make today worth
remembering.”
After struggling to get into the
theater, following a stereotypical
college actor, stumbling onto the
stage, nearly being blinded, con-
versing with Goodrich, ordering a
sandwich and enjoying an excel-
lent production – I decided my day
was worth remembering, too.
Jon Bellion deserves
your full attention
By CATHERINE BAKER
Daily Arts Writer
I have an extremely short atten-
tion span. It’s something I struggle
with every day and causes me
to jump from topic to topic in
the blink of an eye. It also leaves
me available to devote my entire
mindset to anything that strikes
my fancy, even if just for a short
period of time. Today, this devo-
tion belongs to Jon Bellion.
Jonathon “Jon” Bellion was
born and raised in Long Island,
New Jersey and has released
three free mixtapes since 2011.
His most recent, The Definition,
was released in September 2014.
Bellion’s name may be somewhat
unknown, but you are probably
familiar with his work; in 2014,
he wrote the chorus to “The Mon-
ster” by Eminem featuring Rihan-
na and co-wrote and produced the
song “Trumpets” by Jason Derulo.
His most recent single release,
“Woodstock
(Psychedelic
Fic-
tion),” continues his upward trend
and blends the most interest-
ing parts of R&B, electronic, rap
and hip-hop to create an entirely
new sound. With lyrics like “She
fell asleep during Coachella and
she woke up here” and “They all
dropped acid cause the time was
right,” “Woodstock” narrates the
ethereal experience of a music
festival through background beat-
boxing and experimental synths.
Many of the songs on The
Definition resonate with listen-
ers because of their authentic
and honest lyrics. Bellion uses his
musical platform to detail his own
anxieties and experiences, singing
“Eighth grade, I feel depressed as
shit” and “Nineteen, I’m feeling
scared as shit” in “Munny Right,”
vocalizing the deep-seated fear
of failure that lurks within all of
us. He continues this theme in
many other songs, most noticeably
within the religious juxtaposition
of “Human,” relaying “The pastor
tells me I’ve been saved I’m fine /
Then please explain to me why my
chest still hurts.” The hook, “I’m
just so sick of being / Human,”
encompasses much of what Bellion
attempts to illustrate in his mini-
malist beats.
Bellion continues to com-
ment on the grim depths of
the artistic industry through
creative syncopation and syn-
tax in “Jungle,” emphasizing
the harsh underbelly of New
York’s finest in the lines, “These
models don’t mean soda when
they’re offering coke / There’s
quicksand in the nightlife, it
will swallow you whole.” By
minimizing production sounds
and complicated instrumentals,
Bellion’s verses are able to take
the listener by the hand and
pull him/her into a world full
of glamorous metaphors and
interesting insights.
While Bellion’s musical style
is innovative and fresh in a
musical scene that is full of rep-
etition, it is his lyrics that make
you stop and evaluate what he
is aiming to accomplish. With
echoing vocals and constructed
pulses, Bellion has set out on a
mission to leave his own mark in
the minds of his audience, laying
all his cards out on the table for
you to criticize. His introspec-
tive observations force you to
evaluate your own hopes and
ambitions, as well as reflect on
where you come from and where
your own strengths lie. It is
music that does more than make
you dance — it makes you think.
Jon Bellion may not have my
attention forever, but he cer-
tainly has it right now.
CAPITOL RECORDS
He looks like a fuckboi.
The Music
Man
April 16-19
Power Center
Reserve Seating
$22 and $28,
Students $10
with I.D.
Zell Writers’ Series
to host Richard Siken
By BAILEY KADIAN
Daily Arts Writer
The Helen Zell Writers’ Program
welcomes Richard Siken to campus
this week. His collection, “Crush,”
won the Yale
Series of Young
Poets
Compe-
tition in 2004.
Siken is the edi-
tor of the liter-
ary
magazine
spork, which he
cofounded
and
has
received
multiple awards
including
the
Literature Fellowship in Poetry
from the National Endowment of
the Arts, two Arizona Commission
of the Arts grants and two Lannan
Residency Fellowships.
For years now, the Zell Visiting
Writers Series has brought excit-
ing and talented writers to the
University to share their recent
work and inspire young students
to improve and develop their own
writing. The weekly readings are
held at the University of Michigan
Museum of Art, with the books
of visiting writers available to
purchase following the reading.
MFA students, as well as under-
graduate English students, attend
these weekly readings from visit-
ing writers and are encouraged to
apply the new ideas that they have
learned toward their own work in
creative writing.
“It’s more co-curricular,” said
Megan Levad, assistant director
of the Zell Program. “The series
not only brings renowned authors
to Ann Arbor, but introduces MFA
and undergraduate students to the
work of writers they may not oth-
erwise have found on their own.”
Richard Siken, in titling his col-
lection Crush, explores all mean-
ings of the word.
“Both being crushed, and fall-
ing for someone, can feel transcen-
dent. Like one is re-made, reborn
from the destruction,” said Levad.
“The kind of pain that Siken writes
of also sharpens one’s observa-
tions — everything suddenly seems
clearer, we feel wiser, like we have
some esoteric knowledge, can see
through the veil.”
In her foreword to the collec-
tion, Louise Glück writes, “If panic
is his groundnote, Siken’s obses-
sive focus is a tyrant, the body.”
Siken never wavers from com-
municating these obsessive feel-
ings through his work, weaving
panic through his words.
“The poems in ‘Crush’ are vul-
nerable, but also precise, rigorous,”
Levad said. “Siken invites us in
to his emotional and intellectual
world, and we respond.”
Siken explains the thoughts
of panic through conflict with,
as Glück describes, “an impec-
cable sense of timing,” and writes
through the voice of an honest
speaker, who explores conscious-
ness in depth, allowing readers a
certain intimacy with the speaker.
“The blond boy in the red trunks
is holding your head underwater /
because he is trying to kill you /
and you deserve it, you do, and you
know this/and you are ready to die
in this swimming pool / because
you wanted to touch his hands
and lips and this means/your life is
over anyway / You’re in the eighth
grade. You know these things.”
- Siken in A Primer for the Small
Weird Loves
Described by Glück as “lines
that predict and summarize a life,”
Siken uses inconsistency and inter-
connectedness to demonstrate the
daring, but beautiful elements of
his collection.
“I think the realization that
writing is something that real, live
people who come to campus and
eat lunch and visit classes and sign
books do can make a world of dif-
ference in young writers’s beliefs
in the possibilities for their own
work,” Levad said.
Students are encouraged to
attend this event by the UM Eng-
lish Department and enjoy Siken’s
reading of his extraordinary col-
lection filled with power and driv-
en by an obsession and panic that
critics have claimed “makes this
one of the best books of contempo-
rary poetry.”
Siken’s question and answer ses-
sion will be held at 2:00 PM, 4/16
in the Hopwood Room, his reading
following at 5:00 PM in the UMMA
Helmut Stern Auditorium.
EVENT PREVIEW
Richard
Siken
Hopwood
Room
April 16,
2 p.m.
Free