Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Like many
knock-knock
jokes
6 Fit together, as
some Russian
dolls
10 Commando ploy
14 Square
measures
15 Pledge
16 Magazine with
annual Style
Awards
17 Impressionist
who was
frequently a
guest of Johnny
Carson
19 Ink stain
20 Quite a while
21 Org. with
Wizards and
Magic
22 Hard-to-hit pitch
23 __ tai
24 Greek
gatherings?
27 Cleared (out)
29 Clearasil
shelfmate
30 Be in session
31 Less-filling
brews
32 Phoenix-to-
Albuquerque dir.
33 Movie backdrops
34 Statute that
protects source
confidentiality in
journalism
38 Column on a
decision maker’s
list
41 Govt. stipend
42 Gem weight
46 Copy
47 Health club
48 Golfer’s booking
50 Marilyn Monroe
and Grace Kelly
53 “Holy cow!”
54 On edge
55 Jackie’s second
56 Founded: Abbr.
57 City near Tahoe
58 Menu listing
literally
represented by
this puzzle’s
circles
61 “Dancing With
the Stars” co-
host Andrews
62 Tan shade
63 Teapot part
64 Viewpoint
65 Show sorrow or
joy
66 “101” class,
briefly
DOWN
1 Snickers
ingredient
2 Paper work?
3 Exchange need
4 Slangy
turndowns
5 Paris fashion
monogram
6 “Pretty good!”
7 Frequent, as a
diner
8 Mo. town
9 With 25-Down,
what America is
across, to Brits
10 Contradict in
court
11 Court order?
12 “This is
awesome!”
13 Loathes
18 Memo starter
22 Show sorrow or
joy
24 Bass, e.g.
25 See 9-Down
26 Jump on ice
28 Hardy title
teenager
32 Yalie
33 Hit
35 Road trip
guessing game
36 Morales of
“NYPD Blue”
37 Air Force heroes
38 Musical with
nightclub scenes
39 1968 to now, in
pro tennis
40 Fastidious sort
43 Drummer’s joke
punctuation
44 Hobbyist
45 Sees after
47 Muddy digs
48 Ripped to shreds
49 Author Blyton
51 Me.-to-Fla. route
52 Core group
56 Channel with
numerous sister
channels
58 Patch, perhaps
59 Diamonds,
slangily
60 “Woe __”: 1996
grammar book
By C.C. Burnikel
©2016 Tribune Content Agency, LLC
04/13/16
04/13/16
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Wednesday, April 13, 2016
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
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SERVICES
Classic, impossible
stories in ‘Sotto Voce’
By DAYTON HARE
Daily Arts Writer
It is often remarked that great
art is “timeless.” It’s a vessel
which somehow transcends the
sea of society and temporality to
approach the
undiscovered
country
of
an
aesthetic
ideal.
Which
certainly
is
a
romantic
thought,
but
one
which
doesn’t
necessarily
hold up under
close analysis — it could easily
be countered that great art,
rather than being “timeless”
is in fact imbued with an
excess of time, a multiplicity
of temporal place. It isn’t that
great art doesn’t belong to any
time; it’s that it belongs to many
times, contains themes with a
cross-generational resonance,
captures not only the zeitgeist
of the era in which it was
created but also imbibes the
enduring spirit of humanity.
And while it certainly is too
soon to pass any judgments
regarding its greatness, Ann
Arbor audiences will have an
opportunity to experience a
play next week which embraces
this principle of multiple times:
Nilo Cruz’s “Sotto Voce.”
“I was actually going to be
assisting a director named Peter
Brook on this play, and it was
going to be performed in France
in French,” said Héctor Flores
Komatsu, a School of Music,
Theatre & Dance senior and the
director of “Sotto Voce.”
Komatsu
said
he
was
initially introduced to the play
through
a
production
that
fell through. “I read the play
and I was immediately struck
by all these three characters,
and by the themes of refugees,
and helping people in need,
and the impossibility of love,
discovering ourselves through
literature,
through
reading
other people’s things.”
After the initial production
failed to materialize, Komatsu
contacted the playwright to
inquire about the possibility
of putting on a production of
“Sotto Voce” in Ann Arbor.
“This play has just sat in
the back of my mind, so I
spoke (to) Nilo (Cruz) and
said ‘I would love to do this at
Michigan’ — it’s not published
yet, but ‘I would love if I could
direct it and share it with the
community
of
Ann
Arbor,
especially given the subject of
refugees right now,’ ” Komatsu
said. “It approaches the subject
of refugees not in terms of
key figures, or (statistics), but
rather in a very human aspect.
It affects us all; it’s a pain that
creates more pain here and
there, and in a way comes to
affect people from all parts of
the world.”
“Sotto Voce” tells two stories
which take place decades apart,
linked by a common character,
a
German
writer
named
Bemadette Kahn. The earlier of
these two stories takes place in
the late 1930s; a young Jewish
man, Ariel Strauss, and his
sister set sail from Germany
bound for Cuba, fleeing from
Hitler’s regime along with 900
some other Jewish individuals.
Behind them they leave Ariel’s
lover, Bemadette — before them
they face the impassive visages
of Cuba and America, both of
which turn away the refugees.
The ship turns back to Europe,
and upon arrival the siblings
vanish among Hitler’s horrors.
Bemadette later moves to New
York, where in the ensuing
decades she has become a
successful novelist, but has
never written about her former
lover.
“Out of nowhere comes this
young
Jewish
Cuban
man,
a
student
(named
Saquiel
Rafaeli),
calling
her
home
(phone)” Komatsu said. “He
says ‘I’m here in New York to
ask you about Ariel Strauss. I
found the love letter you sent to
him while he was on the boat,
and we’re interested in the
stories of the human tragedy
that was forgotten, we want the
world to hear these stories so it
doesn’t happen again.’ ”
Bemadette
resists
talking
about
Strauss,
but
Saquiel
persists, communicating with
the writer through phone and
the intermediary of Bemadette’s
Colombian maid Lucila Pulpo.
“Little by little they start
to develop this very intimate
relationship, between writer
and student, young and old-
age,”
Komatsu
said.
“In
which (Saquiel) becomes the
imaginary
Ariel
Strauss
in
(Bemadette’s) mind, because
she can only hear his voice, and
it reminds her so much of the
voice of Ariel Strauss.”
Komatsu
views
the
play
as containing a great deal of
meaning beyond the actual
words,
conveyed
through
human interaction and subtlety
of expression.
“It’s the experience beyond
the words that is at the core
of this piece,” Komatsu said.
“It’s called ‘Sotto Voce,’ which
means under voice … there’s
something about the subtlety of
words and the silence between
the words, just like the silence
between music. It’s a very
lyrical piece. When you read it,
it feels like a composition.”
Komatsu
also
discussed
the cast of the play — a small
production,
the
play
only
calls for three actors and one
musician, and is made up
of students from the School
of Music, Theatre & Dance.
Bemadette, Saquiel and Lucila
are played by Larissa Marten,
Aaron Weinstein and Anastasia
Zavitzanos,
respectively,
all
of whom are pursuing a BFA.
Julian Bridges, who is a SMTD
Percussion and Jazz Studies
major, will be providing music
for the production.
“It’s an international cast.
The girl playing Bemadette
is
actually
German
…
she
was born in America, but she
speaks German fluently, she
goes there every summer, so
she understands things very
inherently about the character,
because she understands that
world a little closer,” Komatsu
said. “The Colombian maid
is being played by Anastasia
Zavitzanos,
who
is
Greek-
American,
and
she’s
quite
fantastic
…
and
there’s
a
connection right now with
Greece and the refugee crisis,
so it’s been very close for her.”
Additionally,
the
actor
playing
Saquiel,
Aaron
Weinstein, was born in Puerto
Rico, but was adopted by a
Jewish family, thus making
him almost a mirror imagine of
Saquiel.
“Each of us have our own
personal searches that we’re
figuring out, by reading the
play,” Komatsu said. “I think
it’s important then that it’s
really sensitive actors, who
really understand it to a much
more human level.”
The performance of “Sotto
Voce” in Arthur Miller Theatre,
which is sponsored by the
Frankel
Center
for
Judaic
Studies, the Department of
Latina/o Studies and Arts at
Michigan, will be the first
performance of the play on a
college campus, and only its
third performance ever. The
play itself will be published the
same day as the performance.
Komatsu has had conversations
with Cruz about the work,
but he also notes much of the
play has to be discovered in
the process of rehearsing and
performing it.
“With any kind of literary
work you have to sort of
inhabit it, and figure it out
with patience,” Komatsu said.
“There’s nothing that Nilo could
explain to us that isn’t already
in the play … the important
thing is empathy.”
Komatsu also noted several
themes which he has personally
absorbed from the play.
“As people who are young,
we forget that time is a thing,
and that time exists, but that
time is also scarce,” Komatsu
said. “As someone who is young,
coming into a play like this, it
has already started to teach me
a lot, about ‘how can you still
find life and the desire to live
when you’re 80 years old, and
you feel like you have nothing
ahead of you?’ And then you
find something that is there.
There is always something to be
found if you look.”
COMMUNITY CULTURE PREVIEW
It is often
remarked that
art is timeless.
‘Cleopatra’ is sad
boy-strumming
By SHIMA SADAGHIYANI
Daily Arts Writer
You thought the last haunting
echoes of upbeat guitar strums
and intermittent clapping that
“Ho
Hey”
introduced had
finally, finally,
died
down.
But The Lum-
ineers are back
at it again with
their
newest
release, Cleopa-
tra. This album
is starkly minimalist, with lead
singer Wesley Schultz’s vocals
accompanied only by quiet gui-
tar plucks. Devoid of songs that
are trying too hard to be upbeat
(as seen in their self-titled first
album), Cleopatra is unapologeti-
cally bittersweet and nostalgic:
an ode to the past as much as it is
hope for the future.
Despite
not
having
crazy
rhythms or interesting beats,
this album is exciting in its bare
honesty. Cleopatra opens with
“Sleep On The Floor,” a ballad
featuring Wesley Schultz sing-
ing fearlessly about leaving the
place he calls home. “ ’Cause if we
don’t leave this town / we might
not never make it out” stands
starkly against a steady, muted
background. “Ophelia” holds the
same austerity (the craziest thing
this song puts out are wild piano
solos). Yet, similar to “Sleep On
The Floor,” “Ophelia” entraps lis-
teners not with glitter or glamour,
but with its barefaced humanity.
The same concept is repeated in
“Gun Song” and “Angela,” with
both songs quiet yet powerful in
the way they seem to offer lis-
teners a window into something
that’s incredibly private and ten-
der. Wesley Schultz seems to be
singing for nobody else but him-
self, and it comes through in the
way that these songs are authen-
tic, genuine and a lifeline to the
very core of The Lumineers.
It’s in this way that The Lum-
ineers’ improvement from their
first album shines through. With
songs like “Ho Hey” and “Stub-
born Love,” there was very much
an apparent desire to create songs
that were popular, which caused
many of them to come across as
stiff and forced. However, four
years can really make all the dif-
ference:
Cleopatra
showcases
how centered and comfortable
The Lumineers have gotten with
their personal voice. The songs
are more natural, intimate and
Schultz’s voice has no hesitation
as he sings about everything from
lost loves to strained family rela-
tionships.
However, while this album
does prove that The Lumineers
can produce meaningful music,
it still has its faults. While songs
on Cleopatra are deeply intimate,
they also can become repetitive
as the album goes on. There was
no variation, which meant that
eight or nine songs in the 11-track
album, things get a little dull. The
familiarity established with the
first couple of songs vanishes,
the point of no return is hit and
The Lumineers turns into one
flat line of sad-boy guitar strums.
For example, “Sick In The Head”
is serene, beautiful, melodious
and delicate. Yet, because of its
place in the album as one of the
final songs, its completely lost
under the cover of uniformity.
“My Eyes” is similar in the sense
that it had the potential to be an
enjoyable song, but its place in
the album ruined that possibil-
ity. If The Lumineers had used
the ending portion of Cleopa-
tra to introduce a new sound to
break the mold of melancholy,
the album would have finished
strong.
The genuine emotion this
album introduces, despite its
shortcomings, gives hope that
The Lumineers have a voice
with which they’re comfortable.
Now that they’ve established a
solid base, hopefully they can
use the next albums they release
to experiment and create music
that pushes the boundaries of
their sound. Altogether, Cleopa-
tra is a solid album; one that not
only establishes The Lumineers
as a band who has found their
voice but also builds anticipation
for all the future music The Lum-
ineers can produce.
DUALTONE RECORDS
Live from the “Infinite Jest” book club meeting.
MUSIC REVIEW
Sotto Voce
Thurs. 8 p.m.,
Fri. 8 p.m., Sat. 2
p.m., Sun. 8 p.m.
Arthur Miller
Theater
Free
HAVE A GREAT DAY
TODAY!
B
Cleopatra
The Lumineers
Dualtone Records
6A — Wednesday, April 13, 2016
Arts
The Michigan Daily — michigandaily.com