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TICKETS & TRAVEL

ACROSS
1 Daily bread?
5 Convenient bag
9 Flower that’s a
Buddhist symbol
of purity
14 Unattributed, as
a quote: Abbr.
15 Prof.’s employer
16 Stupefy
17 Checkout line
unit
18 Actress Russo
19 Words to live by
20 1666
conflagration that
destroyed St.
Paul’s Cathedral
23 Military abbr. on
a Beatles album
24 NYC subway line
25 Pup squeak
28 Raphael fresco
depicting Greek
philosophers,
with “The”
33 “__-ching!”
34 Venison source
35 Sunny feeling
36 Seventh-day
activity, in the
Bible
38 __ Gone: gunk-
cleaning product
40 Repeated Doris
Day song word
41 Gave the slip
44 Indian bread
47 At this moment
48 Gypsum used for
casts
51 Subj. for
immigrants
52 Color gradation
53 Coastal inlet
54 Pope
60 Complete chaos
63 Each
64 Rapper whose
name sounds like
a drink
65 Plato’s
marketplace
66 Fodder storage
tower
67 Not this
68 Wooden peg
69 Informal
greetings
70 “Star Wars” guru

DOWN
1 Many a Dickens
child

2 Prefix with social
3 Suffix with party
4 Catch in a net
5 Sports injury on
an artificial
surface
6 First-year law
student
7 Former Yankee
slugger Martinez
8 Should it arise
that
9 De Niro’s
“Raging Bull” role
10 Arabian
Peninsula nation
11 Payroll deduction
12 Action film
weapon
13 College yr.
division
21 Prayer opener
22 Sketch
25 Native of Sana’a
26 Emcees’ duties
27 “Horsefeathers!”
28 Beachcomber’s
finds
29 Like some Friday
work attire
30 Meet portion, or
portion of meat
31 Maine college
town

32 Store posting:
Abbr.
33 Parisian pancake
37 NFL six-pointers
39 Dolt
42 Virtuous
43 Latin god
45 At just the right
time
46 Innocent soul
49 Go over again
50 Uncommon 
thing

54 Droning lecture,
e.g.
55 Freckled boy of
old TV
56 Roly-__
57 Eight, in 
Ecuador
58 Renaissance
faire quaff
59 Jazzy James
60 “I’ve been __!”
61 Back in time
62 Pledge

By Michael Dewey
©2018 Tribune Content Agency, LLC
01/23/18

01/23/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, January 23, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

Rankine on staying in the room

JOSHUA HAN / DAILY

On Thursday, poet, essayist and 
playwright Claudia Rankine spoke 
in conversation with theatre artist 
P. Carl at the Michigan Theater. 
The room was nearly full and 
buzzing with anticipation to hear 
Rankine speak about her new 
play, “The White Card,” written in 
conjunction with Carl.
“The 
White 
Card” 
began 
as an adaptation of Rankine’s 
bestselling collection of non-
fiction 
poetry, 
“Citizen: 
An 
American 
Lyric.” 
“Citizen” 
extrapolates on the persistent 
racial tension between white 
and 
Black 
Americans, 
from 
racist 
micro-aggressions 
in 
supermarkets to overt racism 
in professional tennis, painting 
a painful and accurate picture 
of the myth of America’s “post-
racial” society.
After touring with “Citizen,” 
Rankine decided that she wanted 
to create a play that was an 
entirely different entity than her 
collection. She discovered that the 
reading of “Citizen” was the least 
interesting part of her tour. She 
was more intrigued and inspired 
by the responses of the audiences 

she was reading to across the 
country, from the unwarranted 
hostility of white men to the 
bravery of young Black women.
She then determined that the 
collaborative and communicative 
energy of theatre would be the 
most beneficial setting for a new 
work, one that was written in 
response to, what she’d witnessed 
in her audiences.
The aim of “The White Card” is 
to explore whiteness and to stage 
a continuous conversation around 
race, one that cannot be avoided 
on the premise of “good manners.” 
The 
play 
follows 
Charlotte 
Cummings, a young Black artist. 
Charlotte attends a dinner party 
with her husband hosted by white 
art dealers in New York City in 
hopes of selling her art to them. 
The dinner party quickly spirals 
into an incredibly racialized and 
hostile 
environment, 
written 
to explore the manifestation of 
racism in everyday life.
In reading this play, Rankine 
said that many young Black 
women 
asked 
the 
question, 
“Why did she stay in the room?” 
Though this made her hopeful, 
Rankine was also surprised by 
this response. In her experience, 
it was very uncommon to leave 
during a racist situation. It was 

more common to “stay in the 
room.” This is the dynamic that 
“The White Card” is exploring: 
the phenomenon of “staying in the 
room.”
Rankine and Carl elaborated 
on the difficult situations and 
dialogue within the play, with 
Carl 
claiming 
that 
Rankine 
was writing things that “no 
one would ever say.” Carl then 
caught himself, realizing that 
his experience as a white man 
was incredibly different than 
Rankine’s experience as a Black 
woman — the very theme that the 
play is encapsulating.
The play’s parallels to reality 
expand beyond Carl’s experience 
of collaborating with Rankine 
on the work. The economics of 
theatre heavily influenced the 
writing of “The White Card.” This 
economic consideration is difficult 
to grapple with in creating a work 
about race, given that consumers 
of theatre are primarily white, and 
the success of a play is essentially 
dependent on white people.
Rankine elaborated on this, 
speaking of the difficulty of 
accurately portraying what it 
is to be Black in America while 
also attempting to be careful of 
the potential discomfort of the 
white audiences the play would be 

performed for.
“This play is written for white 
people and they will be the 
audience,” Rankine said. “I can’t 
show the worst of them.”
The 
anxiety 
around 
the 
writing of the play for the sake 
of economics essentially centers 
around Rankine’s most prominent 
question: “How uncomfortable 
can we make white people?”
The 
conversation 
between 
Rankine and Carl around the 
process of the play was incredibly 
potent. 
The 
anxiety 
around 
conversations 
about 
race 
is 
omnipresent. 
Though 
these 
conversations are necessary and 
important, especially in today’s 
political environment, they are 
avoided — and this avoidance 
is usually in the name of white 
comfort.
Rankine and Carl had this 
conversation in front of a packed 
theater and continued it as white 
people began to walk toward the 
exit doors. Through “The White 
Card,” 
the 
conversation 
will 
persist.
White people must face the 
discomfort around conversations 
about 
racial 
aggression 
to 
understand it and to change it. 
We, now, must be the ones to stay 
in the room.

JENNA BARLAGE
Daily Arts Writer

The University 
Philharmonia 
delivers intense 
performance 

Last 
week’s 
University 
Philharmonia 
Orchestra 
concert at Hill Auditorium 
was an impressive display of 
orchestral might on two rather 
mature and nuanced works: 
Beethoven’s 
“Symphony 
No. 8” and Strauss’s “Der 
Rosenkavalier 
Suite.” 
Both 
pieces depict humor, one of 
the 
most 
difficult 
aspects 
of 
orchestral 
performance. 
While neither piece was quite 
as humorous as one would 
expect, both were impactful 
displays by student musicians 
as they learn to play comedic 
music. 
This 
brought 
both 
pieces to moments of pure 
beauty along with occasional 
moments of confusion.
Beethoven’s “Symphony No. 
8” opened quite strong and 
continued in a triumphant, if 
slightly unbalanced, vein. The 
sudden changes in volume, 
for example, were navigated 
well. The cellos, in particular, 
performed their melody to 
great effect.
The second movement, the 
comical movement that some 
have likened to the beating of a 
metronome, was pleasant and 
well-executed. The repeating 
notes 
in 
the 
brass 
and 
woodwinds were impeccable, 
though slightly overpowering. 
The famed 16th-note passage 
in the basses (a quick scale-like 
passage on the lowest portion 
of the instrument where pitch 
is virtually indistinguishable) 
leapt from the orchestra with 
a muddy ferocity unparalleled 
in the entire work. It was, 
as 
Beethoven 
intended, 
a 
startling departure from the 
airy texture of the movement, 
a 
surprising 
hint 
at 
the 
frightening textures contained 
in some of Beethoven’s other 
orchestral works.
In the third movement, the 
orchestra struggled a bit to 
stay together before finding 
sure footing. The triplets in 
the cellos at the beginning of 
the movement began to fall 
apart, though this was quickly 
forgotten as the movement 

progressed. The fluxuations 
between loud and quiet sound 
easily captured the audience’s 
attention 
throughout 
the 
remainder of the work.
The 
last 
movement 
displayed similar faults and 
strengths in interpretation. 
While it was the least precise 
of the movements, it was also 
the 
most 
captivating. 
The 
various repeats of the melody 
within the movement managed 
to feel new and engaging at 
every instance. The sudden 
C-sharp modulation in the 
coda (ending section) was 
handled with the appropriate 
amount of surprise and then 
acceptance. All in all, it was 
a fitting end to Beethoven’s 
“Little Symphony in F” — 
his strangely sophisticated, 
comedic little work.

Strauss’s 
“Der 

Rosenkavalier 
Suite,” 
the 
second work on the program, 
also contained a few awkward 
moments 
in 
an 
otherwise 
eclectic and fun performance. 
The huge orchestra required 
for this piece led to some 
minor balance issues between 
strings and brass, though this 
was ironed out by the end of 
the piece. The cross-sectional 
doublings (those not confined 
to instruments within the 
woodwind, string or brass 
families) 
also 
struggled 
a 
bit 
throughout 
the 
work, 
though they seemed to gain in 
confidence as the performance 

progressed.
The octave passages in the 
bass and low brass, however, 
captured the audience and 
set the tone for the rest of the 
piece. These octave passages 
were resonant and powerful, 
seemingly 
waking 
up 
the 
orchestra and provoking an 
impressive performance.
Following 
these 
octaves, 
the solo passages began to 
emerge with confidence from 
the work. The oboe solos, for 
example, 
were 
impressive. 
The 
solo 
passage 
for 
the 
concertmaster, principal first 
violin, principal cello and oboe 
were absolutely awe-inspiring. 
This moment easily captured 
the performance, the trading of 
notes between the instruments 
beautifully 
navigated 
with 
grace and ease. This created 
a beautifully light and fragile 
texture 
in 
an 
otherwise 
overwhelmingly large work; 
a brief respite between vast 
complex sonorities.
The 
waltz 
sections 
in 
the second half of the work 
represented 
the 
entire 
orchestra at their best. The 
balance during these waltz 
sections was breathtaking — 
even the harp could be clearly 
heard when it was appropriate. 
The slower melodic passages 
also sounded incredibly rich 
and poignant. The constant 
fluctuation 
between 
slow 
melodic content and waltz 
sections gave the ending a 
confidence and radiance not 
felt through the early portion 
of the work.
The best moment, however, 
came midway through the end 
of the work. In preparation 
for an unexpectedly low bass 
note, conductor Oriol Sans 
pointed straight down while 
facing towards the section, 
a powerful look on his face. 
The 
basses 
responded 
to 
this gesture, delivering an 
appropriately ferocious drop 
in register. The smiles on the 
musicians’ faces as they played 
this low note represented the 
feeling of the entire concert: 
a 
confident 
interpretation 
of two lighter pieces in the 
orchestral repertoire. While it 
may be easy to take issue with 
some minor interpretational 
inconsistencies 
in 
the 
performance, it is impossible 
to deny that the orchestra 
delivered 
an 
intense, 
captivating concert.

SAMMY SUSSMAN
Daily Arts Writer

COMMUNITY CULTURE REVIEW

It was, as 
Beethoven 
intended, 
a startling 
departure from 
the airy texture 
of the movement

The waltz 
sections in the 
second half of the 
work represented 
the entire 
orchestra at their 
best.

COMMUNITY CULTURE REVIEW

6 —Tuesday, January 23, 2018
Arts
The Michigan Daily — michigandaily.com

