Coco Chanel Review

In the movie Coco Chanel, Lifetime attempted to tell the story of French fashion designer Gabrielle "Coco" Chanel. Known for such classics as feminine-inspired menswear, quilted purses, and the little black dress, Chanel took the fashion world by storm. With Shirley MacLaine starring as Coco Chanel and Barbora Bobulova assisting as the young Coco Chanel, Lifetime told her story accurately, albeit slowly.

MacLaine and Bobulova looked similar enough to one another to have played mother and daughter, which made the transition from present-day Chanel to young Chanel seemless. However, at one point, for some reason, I thought the young woman playing young Chanel was Degrassi's Cassie Steele. Malcolm McDowell executed a very good performance as Chanel's business partner Marc; perhaps he could have played Karl Lagerfield, the designer who took over the Chanel empire after Chanel's death in 1971, had he been a major player in the movie.

However, the movie told more than just the story of her fashion empire. Like any biopic, it told the story of her life, her beginnings, her love stories. The movie beautifully portrayed her humble beginning as a budding designer, but in the love department, it portrayed her as a sadomasochist (not in a sexual way) with low self-esteem despite her independent, tenacious personality. Having been betrayed, lied to, and rejected, Chanel seemed to expect the men she dated to treat her badly and lie to her to the point that the men actually did lie to her by the time she developed faith in them. But perhaps it was the mere thought and fear of getting betrayed and lied to that made her unable to trust people.

Perhaps Lifetime will take on a Karl Lagerfield biopic should the network decide to make a sequel or series revolving around the Chanel fashion empire.

Club 144

Once upon a time, there was a club called the Mad Bull on the corner of downtown Bucyrus by the Crazy Fox Hotel. Then the Mad Bull caught on fire, and it was never restored — until the summer of 2008, when it became Club 144.

Club 144 had a beautiful interior that appeared to have a classic (50s probably) rock theme. The entrance where you were checked in was a maze to get through, but once inside the club, it was fairly easy to navigate. The bar and pool area was the first area you came to. Restrooms were along the wall of the bar/pool area, and they were really clean, despite there only being one sink and hand dryer. Tables sit between the bar and the restaurant portion of the club. The bar was easy to see, as it had a big WAITRESS ONLY sign on top. The DJ stand had a large booth underneath in an attempt to create a cubby. (VIP perhaps?) The dance floor had two levels, which was pretty cool, especially in the case the lower level got packed.

Since I heard rock music coming through the club, I was under the impression that Club 144 was a rock club. Boy, was I wrong. Not only did they play rock, they also played hiphop, rap, pop, and some R&B, typical Crawford County-area club music. There was a request list by the stairs of the DJ stand to make a request if you wished to make one.

The bar offered a reasonable variety of drinks, and water was free. But mixed drinks were expensive. A mixed drink in a small glass came to about four dollars, but the daiquiri I ordered was a good value for my money (albeit small). Next time, if I come early enough, I may just try the restaurant. (Hopefully there will be something vegetarian on the menu.)

If you're looking for a good time on Friday or Saturday night (or any night), whether you want to dance, get some drinks, play pool, or eat at the restaurant, come to Club 144. If you're looking for a club that offers no cover charge (whether you're short on funds or just plain don't want to pay a cover charge), come to Club 144. However, you have to be 21 or older to get in, at least on weekends.

Godspell (May Contain Spoilers)

Bucyrus Little Theatre put on Godspell this weekend (August 1,2, and 3) and this coming weekend (8,9, and 10). Godspell was originally produced in 1971 on the New York Stage by Edgar Lansbury, Stuart Duncan, and Joseph Beruh, and it was a graduate thesis for creator and director John-Michael Tebelak. Music and new lyrics except for "By My Side," which was written by Jay Hamburger with music courtesy of Peggy Gordon, were written by Stephen Schwartz. It tells the story of the Gospel of Matthew.

Dann Johns's interpretation of Godspell was simple but creative and street-smart. The costumes the actors wore were bold, bright, mismatched, and colorful. Even though the time in the program was stated as "Now," and the setting "Anywhere," I would have interpreted it as having taken place in the 1980s on a street corner, as the setting consisted of a bench, several platforms, and a fence. It could have also taken place at a basketball court, a campground (plus or minus the campfire), or a playground. The style of the costumes solidified my impression of this show having taken place in the 1980s on a street corner. Perhaps "Now" and "Anywhere" were intended to invite the viewer's interpretation of the time and setting. I certainly took advantage of the invitation, and I sure think a campfire on a street corner would be a great yet unconventional way to pass the time, particularly if you're looking to go camping.

Another interesting quality I noticed in the production is that the cast members were referred to as their real names, rather than their respective characters' names. Jesus (Sheldon White), however, was generally referred to as "Jesus" or "Master." But this didn't make a difference in the overall production, which I enjoyed, though the second act starting with "By My Side" brought me to tears (though I could have easily started crying during Lamar's (Joel McDaniel) beautiful rendition of "All Good Gifts"). Another song that brought me to tears, mostly due to the harmonies, was "On the Willows," sung by band members Mark Heydinger (who also lent his talents as the music director of the show) and Paul Myers.

One problem I had with the production, however, was with the number "All for the Best." While this was one of my favorite numbers on the show, as it was one of the most fun (I was dancing in my seat during this number), I could barely hear Judas/John the Baptist (Aaron McNulty) as he sang his part, especially when Jesus sang over him. This was especially sad because I heard Judas/John the Baptist really well when he sang the beginning number "Prepare Ye, The Way of the Lord." Another problem (and I would probably consider this more nerves than a problem) was during "Turn Back, O Man" when Sonia (Carissa Cantrell) forgot the words to part of the second verse. But I'll give her the benefit of the doubt, as it could have been the nerves and the frustration that can come with remembering lines and lyrics talking, she didn't show any obvious (or subtle, for that matter) signs of stumbling, and she performed the song really well and did a good job engaging the men in the audience. (Did you know that Madonna also played this role?) I guess I could also give Gilmer (Kristie Corney) the benefit of the doubt for singing her number "Learn Your Lessons Well" off-key, as it could have been the nerves talking, though she didn't forget the words.

The strobe light during the latter part of the second act was really cool during the finale of the show. It helped to offer the effect of a turn of events as Jesus lay on the cross dying. I could, however, hear one or two of the actors besides myself crying.

The verdict? A light-hearted yet moving show with catchy songs, a musically talented band, and a talented yet half under-18 cast. If I had the money and some friends, I would gladly see this show again, even though I will again secretly wish I had gotten cast in it.