University of Michigan - Michiganensian Yearbook (Ann Arbor, MI)

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BIER VISITS 1HE POOE MOM p uelebral lebrated pi auvri ght Tony Kushner addressed a crowd of 300 at the Power Center on Sept. 28. He appeared as part of Hillel ' s Celebration of Jewish Arts and Great Writers series. While many in the audience were middle-aged, a sizable number of students also turned out to listen to his observations about modern life. Kushner made few direct references to the world of theater, although he was best known for his p a. Augelx in Ameriai, a drama that garnered him two Ton ' awards and a Pulitzer Prize. Instead, he focused on aspects of American society that he feared would tear this country apart as we move into the 2 1st century. In a free-ranging monologue, Kushner painted a dark picture of a society dependent on pure capitalism and lacking in morals. He presented socialism as an antidote to the forces that would divide Americans along the lines of class, race, gender and sexual orientation. Kushner often used dark humor to punctuate his speech. Despite the weight of his chosen subject matter, he poked fun at advertisers, college students j dressed as war victims, and at the current crop of politicians. Though he criticized both major parties, he saved special ire for freshman Republican representatives. and the senior senator from hell, Jesse Helms. In his attempt to push his feelings the ultraconservative senator from North Carolina aside, Kushner sought to impress upon the audience the importance of the humanities. He urged Americans to turn away from mainstream ideas and political leaders in favor of artists, writers and thinkers. Our dreams might not always be beautiful, he said, but at least our books are better written. Kushner ' s worries about modem society provided some of his most pointed observations. He gripped the podium tightly as he spoke about the death of trust in America and the systematic destruction of the environment. Our world is ; Peter Nielsen lony Kusliner speaks to a substantial-sized crowd on his interpretation of the world as we know it. He emphasized the impact of action and the importance of individual involvement. killing us because we are killing our world, he said gravely. As a gay Jewish playwright. Kushner was also concerned about issues of ; tolerance, and what he saw as a general reluctance of people to stand up for their rights. There is something wrong when the Walt Disney Company is America ' s largest champion of gay rights, Kushner said as he urged people to action. He found it troubling that more people did not stand up for their rights on a grass-roots level. We are not doomed to take life as we find it. Life only exists insofar as we change it, Kushner said. He ended his speech to vigorous applause, finally allowing a smile to cross the face of a man certain of his convictions. By Peter Melseti Tonv Kushner 73

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I i urm Lhristoph Eschenbach conducts the Chicago Symphony Orchestra in its 200th appearance with the University Musical Society. The Orchestra performed three nights at the University, featuring classic works by such greats as Tchaikovsky, Dvorak, Mozart and Beethoven. photo courtesy of David Smith Photograph 1, sinny ow raits cum ME fli WILL here was something inspiring about the Chicago Symphony Orchestra. Its members visited the chambers of Hill Audito- rium Thursday, Sept. 25 and Friday, Sept. 26 under the direction of guest conductor Christoph Eschenbach, bringing incredible sounds of peace and serenity to an otherwise stress- filled environment. Five members of the Orchestra also performed chamber music at Rackham Auditorium on Sat- urday. The Chicago Symphony Orchestra was presented under the auspices of the University Musical Society and also presented in part by Forest Health Services. The audience consisted of individuals of all ages, as the musical talent could be appreciated by young and old alike. The ensemble celebrated its 199th and 200th ap- pearances with the University Musical Society during this visit. The performances were simply magical as the Orchestra brought Hector Berlioz ' s Roman Carnival Overture, Op. 9, Mozart ' s Piano Concerto No. 23 in A major, and Tchaikovsky ' s Symphony No. 6 in b minor to life. Guest conductor, Christoph Eschenbach, led the orchestra with his pianist talents during Mozart ' s piece. Eschenbach was a director of the Houston Sym- phony beginning in 1988, and had since been appointed music director of Ravina, home of the Chicago Symphony. In Nov. of 1996, the NDR Symphony Orchestra of Hamburg, 72 Special Events n photo courtesy of David Smith Photography Loncertmaster Samuel Magad displays his expertise and talent on the violin at Hill Auditorium. Magad was one of 35 violinists present during the Chicago Symphony Orchestra ' s appearance on Sept. 25 and 26. Germany announced him as their new music director. Hih inteqiretation of the Piano Concerto brought many mem bers to their feet at its conclusion. The Friday performance featured the works of Dvora and Tchaikovsky, as well as the incredible talents of Nadj Salero-Sonnenberg on violin. Dvorak ' s Carnival Overtun commenced the evening, followed by Tchaikovsky ' s Viol Concerto in D Major. The evening concluded with Dvorak ' Symphony No. 9 in e minor, Op. 95 (From the New World; Those who attended Saturday ' s performance witnessed spectacle of a slightly different sort. Select members of th Symphony performed chamber music at Rackham Audito rium. The troupe played three selections from Robe Schumann: Adagio and Allegro for Horn and Piano in flat. Op. 70, Fantasy Pieces for Clarinet and Piano, Op. 7. and7 we Romances for Oboe ana ' Piano. Op. 94. Membe concluded with [he Piano Quintet in E-fla( Major, Op. 16 Ludwig Van Beethoven. Under the direction of Eschenbach, theOrchestrabroug vintage and incredibly splendid compositions to the Unive: sity. For three nights, students had the opportunity to relisl in poignant pieces from the finest in classical composers. By Kristin .on.

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ft EO! i atCIftlf tS PB Hffl I he enchantment of the tango originated in the Bohemian district of Buenos Aires. In the hot climate and the low-lit cafe mystique, it slowly found its way north. On Oct. 16, it graced the polar regions of Michigan thanks to the University Office of Major Events, where it ignited the Power Center with its passion and magic. Incred- ible dancers and talented artists interpreted cultural Argentinian folk dances in the most exuberant way. The Motor City Milongueros initially converted the stage into a tango bar, with warm light, conversation, much dramatic style and, most of all, dancing! The troupe brought a comfort- able, close atmosphere to a large auditorium, instigating au- dience enthusiasm and participation. The show opened with Silbano in the na- tive tongue of the tango, as Cachi (Jorge Bufalo) sang his way into Argentinian Folklore. This was followed by a showcase of different styles and flavors. Vari- ous dancers and singers performed with Argen- tinian flair. Bufalo, Chelo Marchetti and Boca Rosa delivered stirring renditions of Cancion De Buenos Aires , Tango y Milonga and Feeling the Love I feel respec- tively. Other members of the en- semble participated in vivid dances, until the entire band met on the dance floor, which was created by a ring of tables around the stage. This brought a sort of open improvisation with all the couples. After a certain tranquility and informality set in, the dancers took their seats to become spectators in their own production, where they watched pairs like Ray Hogan and Amy Calio, and Tania Deliz and Edwin Salazar, dance in a variety of rhythms, including cha-cha, salsa, and of course the always exotic tango. A brief interlude of contemporary music was offered byj Boca Rosa just before the intermission. The second act broughtt more complex and interesting forms of dance. Gloria Fontan kicked off the second act with her flamenco dancing, ant was followed by Suzy Sulton and Veli Veliov in their inter pretations of the samba and cha-cha. The brilliant colors of Fonta ' s dress and her mysterious charm boosted the spiri of the evening. The passion of the pair created even more emotion. The audience became engaged in the performance with percussion accompani ment by using their hands to enhance the beat. Ballroom dancing pairs such as Sulton and Veliov and Bob Pintei and Louise Tamer continued the evening with sultry dances like the samba cha-cha, rumba and bolero. While some of these same couples performec in the first act, the performers concluded this portion of the show in some thing entirely unexpected. The entire cast assembled on the stage, perform ing the spectacular traditional dance of the Argentine plains - the pampa The audience was left in awe by the dancers ' art of flashing knives and whirling bolas, concluding a show of incredible rhythm and energy The two masters of ceremony even took a moment during the performance 1 Greg Kessler to taunt the crowd. The audience, however, had the final word with thei: applause that brought the night to a close. By Andrew Hun The Details: Oct. 16,8-11 p.m., Power Center for Performing Arts Tickets: General Admission- $15; Students with ID-$10 Audience attendance: 700 Total number of entertainers (singers, dancers, and musicians): 37 Singers present: 3 Performance Acts: 2 (with one brief intermission) Individual performances: 37 Ballroom Dancers: 5 Flamenco Dancers: 1 Total number of instruments used: 3 (bandoneon, piano and bass) 74 Special Events