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Show Thursday, March 6, 1997 -- frUtf'lHUlIU S3 A more serious problem crops up in the final scene where Charity is supposed to be visited by a group of Instead, we are joyful with" coven of sullen a presented she is that fear and slobby hippies about to be mugged. flower-childre- n. There is a world of difference ' between sleek Nehru jackets and Perhaps we are afl 1960s peace-ni- k ridicule to too willing should not generalize. we but types, : Some of them had taste. off Life" comes of The Rhythm Brubeck with Ivie) well (Justin Daddy obnoxious .; tie-dy- e. as accomplished as those at the Grand. Audience turnout really clerk, imagines making a provocaavoidtive offer to a male customer, does sometimes depend on black'Check your pants?" Except in the ing a 'community standards over-- i Grand's production, it becomes list" Such cuts can perhaps be can we instead and applaud looked, Take a chance?" would Granted, the word 'pants might . the fact that a local theater after all, which is, be "hit the floor and crawl to! . titillate Utah audiences beyond : take on a project matter. its . in subject But come on, mildly daring Daddy?" Yet there is link more than a their usual safe zone. at is not which One alteration it's basically a show about hookersJ whisper of this chilling, cultist phrase . all focus the' on regrettable was casting Camille to choose ; people Perhaps director Alan Lafleur role written-as-mal- e feared retaliation by the state legisla'naughty bits and be offended rather Gerber in the n dance than uplifted by die message of das : of Herman, the ture, who could find that such a declaration of slavish religious devotion beautiful and unique show, isn't - hall manager. As "Hermione", Gerber has such loudmouthed that their own problem? hits too dose to home- .7 that we wouldn't cbmmuin issue often is :, an This '. Another libretto alteration happens see her driving a be to ones even surprised in 'Something Better." One of the nity theater productions', having a good time as 4 '60s jazz guru. A puzzling -. change was uirnoea upon me uwcihowever. to. After the lyrics 'flap your arms and . fly to Daddy" and 'take a dive and swim to Daddy", isn't it supposed, to girls, dreaming of being a hat-chec- k jf hard-bitte- self-possessi- -- d cigar in taxi with a " J her mouth. . It is possible to get too half-chewe- nit-pic- about productions such as these; really the whole idea is to have fun. LaHeur and cast show at many points that they are capable of handling this quirky and unusual show with style. The moments when cracks appear are simply part of the community theater venexperience, and nobody should which only ture to criticize problems a larger budget could cure. : Sweet Charity flays until Alar. 15 at die Grand Theatre, located at 1 575 S. 2 for performance State, Call and ticket information, . 957-332- f - A mm m mi. BLONDE REDHEAD Fake Cam Be Just As Good (Touch and Go) 7x? - : Blonde Redhead's second album La Mia Vita Vtolenia made Twitch's 'Best of 95" list. Kazu Makino's on that album's "I Still Get Rocks OS" still haunts my ears. A tour with Sonic Youth in Italy followed that album; so did unjustified comparisons to Sonic Youth: Blonde Redhead's takes a cinematic, "Euro" approach to music- The band's rather loud sound feels versefy quiet, grand, monochromatic and melancholy, like Fellini's film La - V Strada.' v . In a recent publicity photo) the twin brothers Amedeo and Simone. Pace stand on either side of Makino. It's a natural shot, but the effect is ' sing-screa- m - reminiscent of the twin eerie in Kubrick's The Shining. The shot also captures the essence of die band Tim Burton without the humor, and vaulted shadow without the gothic trappings. Redhead's third album, Fake Can Be Just As Good is a sleeper, which ghost-girl- s will . probably be overlooked. "Kazuality" begins with a Pink Hoyd instrumental pulse and wash, before into comdropping bined no wave and punk styles. The song gets a little repetitive though. Makino's voice serves as head-forwa- rd . Redhead's ace. Although she's Asian-America- n, don't expect the of bands. Her many voice croons and cracks like a Parisian chanteuse dangling a lit Japano-Amer- o cigarette from long fingers. Her voice on Ego Maniac Kid," coupled with simple guitar and bell sounds fits as alternate soundtrack to Hitchcock's Rebecca. The song an searches, without finding itself, by street lamp.' Amedeo is no vocal slouch either. His k vocal punctuation on "Water" give way to transient instrumental passages. A successful juxtapositon of both voices appears on which collects a trampoline bass track, guising-spea- "Bi-Pola- r," tar harmonics and guitar scrapes amid shaken percussion and tight V ir J?Ik ?i: :iMt w t w- - lmt:itf :D :u f.jy hem drums. ';, g "Futurism True, the Vs. Passivism" is five minutes of nowhere. However, it's a small price to pay for a solid album. As Amedeo sings on 'Oh James," "What I'm trying to sell isn't all the same." That's more than most albums can claim today. No faking hcrel --Christian Aria! album-dosin- |