FOR SALE
URL’S FOR SALE
PureMichiganWater.com,.net,.org
BestFreakin.com, FreakinBest.com
FreakCapital.com,Link420.com
Contact: d@d00g.com
FOR RENT
3 & 4 Bedroom Apartments
$2100‑$2800 plus gas and
water contribution.
Tenants pay electric to DTE
Showings scheduled M‑F 10‑3
w/ 24 hour notice required.
1015 Packard
734‑996‑1991
5 & 6 Bedroom Apartments
1014 Vaughn
$3250 ‑ $3900 plus utilities
Showings scheduled M‑F 10‑3
w/ 24 hour notice required
734‑996‑1991
ARBOR PROPERTIES
Award‑Winning Rentals in
Kerrytown
Central Campus, Old West
Side, Burns Park. Now Renting for
2018.
734‑649‑8637 | www.arborprops.com
CENTRAL CAMPUS
7 BD furnished house, LR, DR, 2
baths,
kitchen fully equipped, w/d, int.cable,
parking 4 ‑ 5. MAY to MAY. Contact:
706‑284‑3807 or meadika@gmail.
com.
FALL 2018 HOUSES
# Beds Location Rent
6 1016 S. Forest $4900
4 827 Brookwood $3000
4 852 Brookwood $3000
4 1210 Cambridge $3400
Tenants pay all utilities.
Showings scheduled M‑F 10‑3
w/ 24 hr notice required
734‑996‑1991
Classifieds
Call: #734-418-4115
Email: dailydisplay@gmail.com
ACROSS
1 Type of
coordination
5 Wolverine rival
9 Hidden 3-D image
14 State as fact
15 “A Hard Road to
Glory” author
16 Coffeehouse
draw
17 Sagacious
18 Lacking in some
way
19 Checkout choice
20 “Roar” singer
22 Large pipes
23 Malfoy, to Potter
24 Attention getter
26 Sign on a
highway
30 Binging
34 Order to a sea
dog
35 Genesis victim
38 Quinnipiac
University
product
39 “Kid-Tested,
Mother-
Approved” brand
40 Scornful glance
... and a hint to
completing 12
aptly placed
answers
43 Soul seller
44 Sooner State city
46 Jodie Foster title
role
47 Slogs
49 Antarctica, for
example
51 Domains
53 Coop cries
55 Really big stretch
56 E alternative?
59 Chip topper
65 Pilot that can’t fly
66 Favorable thing
to be on
67 Halliwell once
known as Ginger
Spice
68 Rte. that crosses
Lake Michigan by
ferry
69 Sighed line
70 Course that may
cover a crash:
Abbr.
71 Intuition
72 Batter’s
command of the
strike zone, in
baseball lingo
73 Pacific salmon
DOWN
1 Iowa athlete
2 New Balance
competitor
3 Incubator site
4 Subject of Zola’s
“J’Accuse...!”
5 Whalebone
6 Certain surfer
7 Arctic trout
8 “Out of Africa”
setting
9 Drama set at an
advertising
agency
10 Hotel handout
11 Silk Road desert
12 “Let’s do it!”
13 Reflective
semiprecious
stone
21 USB and others
25 Toledo opening?
26 Unassisted
peeper
27 Like Lamb Chop
28 Prepares to take
off
29 One-named
Nigerian singer
31 Batman nemesis,
with “the”
32 Similar
33 Physical feature
of Peter Falk and
Sammy Davis Jr.
36 “The Fresh
Prince of __-Air”
37 Charged fish?
41 Van Morrison’s
“__ the Mystic”
42 Set of values
45 Bush 43, so he
said, with “the”
48 Goes back (on)
50 French epic
hero
52 Prepared to eat,
as a banana
54 Skin-and-bones
sort
56 Z’s
57 Nibble
58 Fighting
60 Relative of a
Yodel
61 Big Bird buddy
62 Chrysler Building
style
63 __-Z: classic
Camaro
64 Conjunctivitis
By Debbie Ellerin
©2018 Tribune Content Agency, LLC
01/19/18
01/19/18
ANSWER TO PREVIOUS PUZZLE:
RELEASE DATE– Friday, January 19, 2018
Los Angeles Times Daily Crossword Puzzle
Edited by Rich Norris and Joyce Nichols Lewis
xwordeditor@aol.com
It’s hard to fully grasp just
how many different events are
happening on North Campus
at the School of Music, Theatre
& Dance. It would be nearly
impossible for someone to catch
the 450+ performances the school
puts on each semester. It can
be a daunting task for someone
wanting to experience the talent
and artistry this University has to
offer.
Collage hopes to help with that.
By giving each department
a little time to shine, SMTD’s
annual Collage Concert provides
audiences with a little sample of
all the magic going on within the
school.
The Collage Concert at the
University is based off of the
“Prism
Concert,”
a
tradition
started at the Eastman School of
Music that quickly spread to music
and performing arts schools all
across the country. Even some
high schools have taken up the
challenge. The idea is to surround
the audience in a “prism” of sound.
Acts perform back to back, with
no time in between for applause,
on different corners and sides of
the stage. My eyes darted from
side to side, watching Shakespeare
turn to bluegrass, beatboxing to
baroque and Hayden to Hodges.
The
performances
were
powerful. The first and second
halves were unique in their own
respects. While neither had a
distinct theme, aside from the
fact that the first half featured
the University’s Symphony Band
and the second half featured the
Symphony Orchestra, they both
felt different. After the Symphony
Band left audiences in awe with
their performance of the fourth
movement of David Maslanka’s
“Symphony no. 4,” I wasn’t sure
how the second half could follow
such a showstopper. But when
the lights went low for the second
time, I was swept away by the back
to back performances that were
happening all around me.
My favorite set of performances
came in the second half, with the
piece “Through Our Eyes” and the
third movement of Rachmaninoff’s
Second Symphony. “Through Our
Eyes” featured students of color
in a collaborative dance and vocal
piece, detailing the issues they
face at the University. Vocalists
Zion Jackson and Jaime Sharp
performed sections of spoken
word as well as a unison melody
that accompanied both the dancers
and themselves. In addition to
these sections of spoken word,
testimonies from students of color
at the University rang throughout
the auditorium. These vocals
worked in conjunction with a
group of students from the dance
department, putting together a
powerful performance that shook
the audience to its core.
Whoever
planned
Collage
must have had it out for me,
because after already feeling
these
overwhelming
emotions
from “Through Our Eyes,” the
sheer beauty of Rachmaninoff’s
“Adagio”
from
his
second
symphony really did me in. I could
feel the tears coming as soon as the
opening melody was played.
However, there were more than
just tears shed at Collage. Whether
it was when members of the
theatre department performed a
selection from “The Merry Wives
of Windsor,” or when members of
the music school reimagined Leroy
Anderson’s
“The
Typewriter”
with smartphone clicks and dings,
the audience reacted with laughs,
giggles and everything in between.
Logistically,
I
was
pretty
amazed
by
how
well
this
performance
came
together.
Getting hundreds of performers
in the right place at the right time
can be a difficult task — not to
mention the sound and lighting
difficulties that come with it. I
was surprised at how fast acts
were able to transition into each
other, and besides a few lighting
mistakes, everything looked and
sounded clean. In a massive space
like Hill Auditorium, acoustics are
everything. And although some
sounds required amplification,
it was hard to tell when sounds
were being projected over the
PA because of how natural it all
resonated.
It’s always inspiring to see my
peers share their passions through
their performances. With so many
artistic accomplishments being
made everyday within SMTD,
the annual Collage Concert does
an amazing job at sharing a bit of
these special performances.
STUDIO CANAL
‘Paddington 2’ is clever and as sweet as marmalade
The
first
“Paddington”
was quietly dropped in Jan.
2015, and as an animated film
released during the first weeks
of the new year, the smart bet
was that it was going to be
awful. A marketing campaign
that fronted a story ripped
from any number of “fish out
of water” kid flicks did nothing
to help. It came as a welcome,
genuine surprise that, despite
its predictable story, the movie
itself was actually quite good.
Each scene held an abundance
of wit, charm and honest-to-
God style that the whole thing
played like your kid’s first Wes
Anderson film. The only things
missing were Bill Murray and
chain smoking.
It was a victory against all
odds, yet somehow director
Paul King (“Bunny and the
Bull”) and his cast and crew
have found a way to outdo
themselves.
“Paddington
2”
exceeds the first film in almost
every way possible; from its
unique style to its clever sense
of humor, everything is stepped
up. Still, at the core is the
same beating heart that makes
it so easy to fall in love with
Paddington
(Ben
Whishaw,
“Spectre”) and his surrogate
family, the Browns. If the movie
that introduced us to them was
a great kid’s film, then its sequel
is a great film, period.
Without a doubt, the greatest
improvement made is the use
of the human characters. Apart
from the Browns — the parents
portrayed
gamely
by Hugh
Bonneville (“Downton Abbey”)
and Sally Hawkins (“The Shape
of Water”) — the first film
didn’t have much in this way
besides Nicole Kidman (“Lion”)
playing a villain who is never
as funny or as lively as the film
itself. “Paddington 2” has two
characters who almost steal the
show from Paddington himself.
The first is Hugh Grant
(“Florence
Foster
Jenkins”)
as
Phoenix
Buchanan,
a
former thespian who frames
Paddington for a theft he
himself committed. Buchanan’s
series of increasingly ridiculous
costumes and personas gives
Grant the opportunity to ham
it up, playing opposite himself
in a nearly self-satirical role.
This climaxes in the character’s
final scene, which set an early
high bar for hilarity in film
this year. It’s worth noting
that when “Paddington 2” was
released in the United Kingdom
late last year, Grant — as well as
the script and the film itself —
was nominated for the BAFTA
Film Award for Best Supporting
Actor. Now that it has been
released in America, it’s easy to
see why.
The other terrific addition
is
Brendan
Gleeson
(“Mr.
Mercedes”)
as
Knuckles
McGinty. Every scene Gleeson
shares
with
Paddington
is
filled
with
the
best
jokes
“Paddington 2” has to offer,
from his reaction to Paddington
shoving a marmalade sandwich
into his mouth to the reveal
that he misspelled his name —
“Nuckle’s” — when tattooing it
across his fists. Similar to the
film itself, there’s a beating heart
at Knuckles’s core, and the very
real friendship that develops
between
the
curmudgeonly
JEREMIAH VANDERHELM
Daily Arts Writer
‘Underground Railroad
Game’ performances to
continue this weekend
It is rare that I leave a
presentation of art — be it a work
of theater, a museum or a concert
— and find myself at a loss for
words. I am usually quick to
reflect on and dissect what I see,
able to articulate the emotions
and
feelings
and
questions
that
are
provoked
by
my
immersed
experience.
But
tonight,
I
was
rendered
speechless.
The
exhilarating,
intense,
exhausting
and
confrontational
90
minutes
that
is
“Underground Railroad
Game,”
presented
at
Arthur Miller Theatre
by University Musical
Society as part of their
inaugural No Safety Net
festival, forces audiences
away from their comfort
zones
and
confronts
protruding issues of racism in
ways that are unconventional
and
unrelenting.
The
real
magic
of
the
show
comes
from its approach. Issues are
presented and explained in a
way that makes leaving your
comfort zone feel natural and
necessary, rather than abrasive
or intrusive.
Following the opening scene,
the audience assumes the role
of a middle school class being
taught about the Civil War. Part
of the lesson plan is to participate
in “The Underground Railroad
Game” (a real game played
in fifth grade by the show’s
co-star and co-writer, Scott R.
Sheppard), where students on
the Union’s side must attempt
to move Black dolls from safe
house to safe house — bins in
each teacher’s classroom —
without being caught by the
students on the opposing side:
the Confederates. In order to
designate who’s on which team,
under each audience chair is
a toy soldier of either blue or
silver: blue means Union, silver
means Confederate. Contrary to
many other works, the audience
participation in this instance
felt natural, not tacky, and added
a personal investment aspect for
everyone in the room.
While the theme of this game
is ever-present throughout the
duration of the performance,
the two-person piece moves
beyond
the
classroom
and
hones in on often unspoken
issues
regarding
mixed-race
couples, stereotypes, how to
respond to the “n” word, how
to teach children about racism
and
how
to
handle
racist
incidents.
By
breaking
the
“fourth wall,” and the initial
blanket casting of the audience
as 12-year-olds, “Underground
Railroad Game” does a heroic
job of breaking down difficult
matters and explaining them
simply without coming across
as condescending. Yet, it still
implores the importance of the
topics at hand in a way that
everyone understands.
This, however, is only one
aspect
of
the
show.
What
makes this theatre experience
remarkable is its multi-layered
complexity
and
absolute
fearlessness. From full frontal
nudity and shouted expletives to
seeing the two characters (and
their relationship) transform,
“Underground Railroad Game”
unapologetically
presents
audiences with an experience —
one they must sit through, learn
from and internalize.
While it is true that I could
not find words to describe my
feelings immediately
following this glorious
marathon of a show, I
was
overwhelmingly
curious
to
hear
about other people’s
experiences
and
interpretations. I was
excited
to
engage
with those around me,
to convene with the
newfound community
of
people
who
shared this powerful
experience. I was, and
am, looking forward
to the conversations that will
surely take place because of this
show — important conversations
that will help people process
and learn and grow.
The presentation opened the
No Safety Net festival, a series
of provocative theater events
presented by UMS that will take
place over the next few weeks. If
“Underground Railroad Game”
is any indication of what’s to
come, it is safe to say that No
Safety Net will be a beautiful,
necessary and vital source for
exploration, conversation and
education.
“Underground
Railroad
Game” will run this week at
the
Arthur
Miller
Theatre:
Thursday,
Jan.
18
at
7:30
p.m., Friday, Jan. 19 at 8 p.m.,
Saturday, Jan. 20 at 2 p.m. and
8 p.m. and Sunday, Jan. 21 at 2
p.m.
“Underground Railroad
Game”
Thursday, Jan. 18 @ 7:30 p.m.
Friday, Jan. 19 @ 8:00 p.m.
Saturday, Jan. 20 @ 2:00 & 8:00 p.m.
Sunday, Jan. 21 @ 2:00 p.m.
Arthur Miller Theatre
General admission $35-40
ALLIE TAYLOR
Daily Arts Writer
SMTD’s Collage Concert
RYAN COX
Daily Arts Writer
prison chef and the titular bear
is one of the movie’s greatest
achievements.
And that heart, communicated
beautifully through both the
characters and a story that
is
significantly
less
by-the-
numbers than the original, is
what makes “Paddington 2”
great. It verges on cliché to
celebrate a children’s movie
for
simply
being
innocent
and sweet, but innocence and
sweetness
are
Paddington’s
defining attributes. They are
attributes that his movies —
in between jokes and stylistic
flourishes — implore audiences,
young and old, to share. In a time
when most films extoll those
values without exhibiting them
themselves, a film that actually
walks the walk and walks it well
should be celebrated.
“Paddington 2”
Ann Arbor 20 + IMAX,
Goodrich Quality 16
StudioCanal
FILM REVIEW
6 — Friday, January 19, 2018
Arts
The Michigan Daily — michigandaily.com