Thursday, February 21, 1935
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Continued from Page 5
"One of the great tragedies In Lin
coln is that ncbody takes advantage of
the university music department reci
tals," Emile said.
A variety of faculty and student reci
tals are offered at Kimball Recital Hall
on campus throughout the school year.
These represent some of the finest per
formances to be found and most are
free of charge. Schedules are available
from the Kimball box office in West
brook Music Building.
Besides faculty and student recitals,
Kimball also offers university operas,
band and chorus concerts, small
ensemble programs and the Kimball
Performance Series.
The Kimball Performance Series is
the best bet in town for any fine arts
fan. Performers such as Wynton Marsa
lis, Yo-Yo Ma and Emanuel Ax are wel
come on anyone's list. Still to come in
the '85 series are The St. Louis Sym
phony, ARS Musica and The Houston
Ballet.
Nebraska Wesleyan University does
not have an official concert series, but
music department secretary Judie Hemp
said the department has a recital
scheduled for Feb. 24 on the Wesleyan
campus in honor of Bach's birthday.
UNL is, as it should be, the strong
hold of fine arts in Lincoln. But some of
the best music in Lincoln als6 can be
found at several downtown churches.
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First Plymouth Congregational
Church, 20th and D streets has a com
plete and impressive music program
including the well-known Plymouth
Brass.
My personal favorite, however, is
First Presbyterian Church, at 17th and
F streets. David Spicer, director of
music and organist, ensures a profes
sional level of musicianship from vocal
to handbell choirs, soloists and fre
quent evening recitals, sometimes with
the accompaniment of The Nebraska
Chamber Orchestra.
. .
I ' ' if .
To find classical music on your radio
in Lincoln, turn to KUCV 91 FM.
KUCV, which broadcasts from Union
College, is part of the National Public
Radio network and offers classical pro
gramming from 5 a.m. to midnight,
seven days a week.
KUCV broadcasts replays of all Lin
coln Symphony concerts as well as live
or taped broadcasts of the Cleveland
Orchestra, New York Philharmonic,
Chicago Symphony and others.
If you want to establish your own
collection of classical albums or tapes,
you have two options.
PLAN ONE: Have a lot of patience,
money, time and a lot of gas in your car.
PLAN TWO: Join a record club.
I have yet to find a record store in
Lincoln that has an outstanding classi
cal selection.
The Record Shop, in the Centrum
and Gateway malls, seems to stock the
largest number of classical albums, but
it leans heavily toward "greatest hits"
Troy PMppsDally Nsbraskan
albums. The cassette department offers
a gocd selection of popular solo per
formers such as James Ualway, Pava
rctti and Wynton Marsalis. However, it
still lacks standard orchestral works.
Dirt Cheap and Pickles record stores
have albums which are more standard
repertoire, but both collections are
small.
Classical music may not be at the
forefront of life in Lincoln, but for those
who need a periodic dese, it can be
found.
New releases earn respect 10
cee:
sex Hlrni
ByWardW.Triplett III
S porta Editor
Those crazy teenage sex comedies aren't so
crazy anymore.
Well, not all that crazy. There's still some
lingering stupidity and leering that so neatly
identifies the breed. But if three new movies are
any indication, teenage sex films may soon buck
for some respect.
jnrmBASffiMJB
review inzinli
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The bridge that crosses the "My Tutor" crowd
to "The Breakfast Club" was "Risky Business."
While the movie had its share of skin and teas
ing, it also revealed a thoughtful, ambitious and
sincere hero in Tom Cruise's character. There
fore, since "Risky Business" made real money,
teen movies since then have had to pay attention
to at least one character who might have some
thing to say.
The first of the this year's teen batch, which
includes "Vision Quest," and "Fast Forward," is
"Heaven Help Us," which opened recently to
warm box office receipts.
"Heaven Help Us" is intriguing to start with
since it's centered on a strict Catholic school.
The hero (the thoughtful one) is Andrew
McCarthy, who was on the other side with
"Class" two years back.
McCarthy is the new kid at St. Basil's, and his
charm and friendliness blends neatly with the
school's tough guy, (Chris Dillon) and a loosely
knit gand of an obese nurd (Malcolm Danare)
and a habitual masturbator (Stephen Geoffreys),
who seems to be along to keep the crudeness
level up.
But the problem with "Heaven Help Us" is
that it balances between the new sensitivity and
the old tastelessness and mayhem so long that it
fails to move anywhere. There are some decent
possibilities for a funny, engaging story. The
most obvious involves a school dropout (Mary
Stuart Masterson) who runs a malt shop next to
St. Basil's.
The relationship between she and McCarthy
could have flown. Instead, the movie quickly
degenerates into a one-on-one battle between
the gang and one priest (Jay Patterson). The
priest is, to say the least, the ultimate nightmare
for any of us who attended Catholic schools.
(This is what my teachers always said they
wanted to do to us.)
Because of those connections, "Heaven Help
Us" may attract a post-Catholic school audience
to either jeer or cheer its side. But better, more
immediate help should have come not from
"Heaven," but from an imaginative scriptwriter.
Another movie that makes some strides but
not enough is "Mischief." This is at first just
another bit of rehash about a young, underconfi
dent school square peg and his chase after the
school's most beautiful "object." But "Mischief
doesn't keep its women in small, playtoy roles.
Kelly Preston, as the blonde you see in the
commercials, is real. So is Catherine Mary Ste
wart, though her role has fewer hocks.
"Mischief adds two male leads that actually
do grow and change because of each other's
influences. Doug McKeon ("On Golden Pond")
and Chris Nash are both more impressive in
those roles, but too much emphasis on McKeon's
chase after Stewart removes the sweetness and
the interest in "Mischief."
Like "Heaven Help Us," "Mischief is set way
back when (Ohio, 1956). The third and best film
of the new generation is 1985 entirely.
"The Breakfast Club" is one of the smarter
ideas in quite a while. Set in a high school
library, the plot brings together five high school
ers from five different backgrounds for a day of
detention. During the eight hours they must
spend together, they are supposed to write a
1,000-word essay on "Who I think I am."
Intentional or not, the students eventually try
to break down the walls between them. In the
process, they learn that each of them has a bit of
the other's type in them.
' In that way, 'The Breakfast Club" is different
from "The Big Chill," the film its makers who
produced "Sixteen Candles," openly admit they're
modeling after. "The Breakfast Club" isn't so
much an adolescent "Big Chill" as it is a
younger, smaller "Twelve Angry Men."
"The Breakfast Club" tries to look at why
these five people are the way they are, but
doesn't spend a lot of time on how it might
change them . To make up for it, they create some
unnecessary confusion at the end by letting
actions speak instead of the words and emotion
that carried the rest of the film.
But the cast is terrific and versatile, led by
"Sixteen Candles" stars Molly Ringwald, as the
snobbish beauty, Claire, and Anthony Michael
Hall as the class brain, Brian. Jadd Nelson is the
class rebel, John Bender, who keeps the movie
alive early with pranks and verbal barbs with the
detention supervisor. Ally Sheedy and Emilio
Estevez (son of Martin Sheen) are the class
wierdo and the class wrestling star respectively.
About 80 percent of the nearly two-hour film Is
spent on some or all of those five. With the
exception of the instructor, who primarily serves
as Nelson's foil, adult rcles are just about
non-existent.
If there is one thing "The Breakfast Club"
shares with "The Big Chill," it's the temptation
to overlook its faults because the idea is so good.
"The Breakfast Club" really doesn't offer solu
tions and isn't heavy enough to make its target
audiences change their minds about each other.
It works, however, because the club members
are interesting and watchiug them unravel the
myths and defenses about themselves is an
entertaining experience.
The weak spots are few, and there is some
unnecessary violence and destruction. The foul
language quotient wouldn't interest Eddie
Murphy, but it does stick a little longer in what
is usually a reserved 'atmosphere. But "The
Breakfast Club" takes the new thought to its
limit and makes for a tasteful treat for the mind.
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