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Wednesday, March 31,2010

Mixed messages

'Talking With' marred by uneven performances

by Paul Wozniak
Monologues — like stories — require different skills from an actor than standard stage dialogue. "Talking With," by the pseudonymous Jane Martin, is at times a struggle for the actors of Icarus Falling and for director Erica Beck. Some scenes have been given painstaki...
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Wednesday, March 31,2010

Vaudeville lives again

Lil’ Darlins show pays tribute to days gone by

by Mary C. Cusack
Organizers Ben and Katie Corr are humble but passionate about their current project: to bring a modern-day vaudeville show to the Lansing area. The April 2 show at the Hannah Community Center is the third they’ve organized in the last year.
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Wednesday, March 31,2010

Turn It Down

A survey of Lansing's musical landscape

by Rich Tupica
Since forming in 2006, the jeanjacket-clad band has received a burst of online buzz after the release of “I.C.B.M.,” its 2007 debut 7-inch on Bermuda Mohawk Productions (BMP) and “Wardrive,” its 2008 debut full-length on Planet Metal Records, which was recently re-released on vinyl.
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Wednesday, March 31,2010

'Song' sung blue

Miley Cyrus: Still a girl, not yet an actress in her dramatic debut 'The Last Song'

by James Sanford
Miley Cyrus fans, don’t say you weren’t warned. Remember how “The Hannah Montana Movie” took a serious turn in the last half-hour, with Miley suffering an identity crisis? Consider that a warm-up for “The Last Song,” in which Cyrus tackles her first straight dramatic role. Despite the title, she does very little singing in the film (aside from a scene in which she belts out Maroon 5’s “She Will Be Loved” along with the radio); she also doesn’t do much in the way of persuasive emoting, either.
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Wednesday, March 31,2010

The Screening Room

Cyrus is still a girl, not yet an actress in ’The Last Song’

by James Sanford
Remember how “The Hannah Montana Movie” took a serious turn in the last halfhour, with Miley suffering an identity crisis? Consider that a warm-up for “The Last Song,” in which Cyrus tackles her first straight dramatic role.
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Wednesday, March 31,2010

’Mars’ madness

It’s Halloween hysteria in Williamston comedy based on radio mix-up

by Brandon Kirby
Recipient of the 2009 Edgerton Foundation New American Play Award, “It Came from Mars” is a world premiere collaboration between Williamston Theatre and Ann Arbor’s Performance Network. The screwball comedy has a pay-what-youcan preview performance at 8 p.
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Monday, March 29,2010

Building a ‘bond of respect’

MSU conference seeks to dispel myth surrounding Muslims’ connection to violence, terrorism

by Jessica Carreras
There’s no question Muslims deal with a fair amount of stigma in the United States. Negative images in the media, combined with the instilled fear of terrorism, have left Americans wondering whom they can direct their anger and panic at. In many cases, the answer has been the nation’s own Muslim American communities. But Farha Abbasi, a resident in Michigan State University’s department of psychiatry, is aiming to change that.
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Sunday, March 28,2010

Turn It Down

Keeler taps into 'Water'

by Rich Tupica
In 2008, after graduating from Columbia College in Chicago with a music composition degree, Keeler’s sound began to morph into a polished blend of Sam Cooke-style soul and Tom Waits, while still staying true to his ‘90s alternative roots ' which shows in his debut solo album “The Cold” (2008).
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Sunday, March 28,2010

Wharton Center has everything from "Mary" to "Jersey"

2010-11 Broadway season also includes "Shrek the Musical," "9 to 5"

by James Sanford
It’s fresh, and yet it’s also familiar — that’s what you might think when you see the Wharton Center’s Broadway line-up for 2010-11.
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Saturday, March 27,2010

Lopsided love

MSU opera has high Juliettitude, low Romeosity

by Lawrence Cosentino
An insidious thought came to me during MSU Opera Theatre’s energetic “Miami Vice” remake of Charles Gounod’s 1867 Shakespearean opera “Romeo et Juliette.” I could flee the hall at halftime — that’s March madness for entr’acte — and walk away whistling the happy marriage duet that ends the opera’s first half. By the time stabbed and poisoned bodies started to pile up on stage, I could have been sipping a latte at Biggby’s while catching up on Kyle Melinn’s column. Even the opera’s doomed lovers agreed to this in principle: Better to slip out of the bedchamber while the nightingale is still singing, before the lark summons the cruel dawn. But I didn’t, and I’m glad. I would have missed the best part of the show.
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