The daily Nebraskan. ([Lincoln, Neb.) 1901-current, February 21, 1985, Page Page 6, Image 6
Thursday, February 21, 1935 PagoG Dai!y Ncbraskan T1 O 4 Imm di mesne 'OOO 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. 1 -ni' 4' '',. )' 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 "vsr" 3 J 1 7 Lzfni.: Iff ' it i 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. (1 u an -? Jilt IMP WW CUM! ICUIKCS ' mui "mite -a. -. . t Lr'- ' f' ft ' 1 I 220 N. IGthDOWNTOWN 237 S. 7Cth-ES)UmE PLAZA RECORDS TAPES & COMPACT DISCS ' Amos Ewlng BryoB Burgess Friday and Saturday Shows 9&11 p No Cover! Mo Minimum! n n I m f-1 ?fl I r f fie A is w y y y k a si uy wrf u 4 hay As; f. f r "k i I