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THF MTY Friday, Jan. 20, 2006 M _l I m M -X-T 1 A _m_ Page 5 USC grad returns to Columbia as ringmaster of ‘Greatest Show on Earth’ Juan Bias / THE GAMECOCK Former USC student Tyron McFarlan is living the circus life as Ringling Bros, and Barnum & Bailey’s newest ringmaster. The show will be in town until this Sunday. Tim IJlcfllamis STAFF WRITER So you’re a few years out of college with a degree in criminal justice. You’ve had over a decade of experience in the military, have been heavily involved in musical theater and have a full time job at the Department of Motor Vehicles. What now? Tyron McFarlan’s answer to that question was to run away and join the circus. McFarlan, a USC graduate and former military child who calls Columbia his hometown, is returning to the city as ringmaster of Ringling Bros, and Barnum & Bailey Circus. During his college years McFarlan juggled classes while serving in the National Guard and working as a license examiner at the DMV. He also did quite a bit of performing in college, singing at talent shows and pageants. One of these performances led to him being crowned the first Mr. Jabberwock in a pageant put on by Delta Sigma Theta sorority, he says. After graduating, he became heavily involved in musical theater at Workshop Theatre, performing in shows such as “Ragtime” and “Smokey Joe’s Cafe” and playing Judas in “Jesus Christ Superstar.” After his experience at Workshop Theatre, he went to Rock Island, 111., where he performed professionally. “A gentleman I was working with there was impressed with my work ethic and thought it would be a good thing for me to go and audition for ringmaster,” McFarlan said. “He’d come across the audition in BackStage magazine.” Upon departing for the audition, McFarlan says he lost his job at the DMV. “A few people there didn’t want me to go to this audition,” he says. But McFarlan went to the audition and now says, “It was probably my best audition because I had nothing to lose.” His singing ability is not wasted in his role as ringmaster. “I’mone ofthe few singing, dancing ringmasters,” he says. “I have several songs that have been specifically prepared for my vocals.” McFarlan says his life at USC was fantastic. “My curriculum was relatively tough,” he says. “You struggle with the freedoms you have. But later, I buckled down, did my work, and graduated.” People at USC helped him with his ambition to perform. “They were very supportive in pushing me in that direction and giving me the confidence that maybe I am good at performing, and maybe I should go after it,” he says. His years in the military probably benefited him more, he says, giving him the work ethic to do whatever it takes to get things done. As far as his degree is concerned, “I never really thought about criminal justice and how it plays into the circus,” he says. But it also gave him a firm understanding of procedures when it comes to putting on the show. McFarlan says he thinks the circus has appeal for USC students. “Ringling Bros. and Barnum and Bailey Circus, Juan Bias / THE GAMECOCK McFarlan meets with one of the circus’ youngest fans at EdVenture children’s museum in Columbia Thursday. the greatest show on earth, is for children of all ages,” he says. “I’ll invite anyone to come out and see this show and have a great time.” Ringling Bros. and. Barnum & Bailey Circus will be at the Colonial Center until Sunday. Tickets can be purchased at the Colonial Center, online at thecolonialcenter.com or by calling (866)-4SC-TIXX Comments on this story? E-mail gamecockfeatures@gwm.sc. edu MOVIE REVIEW Historic love triangle revealed in ‘Tristan & Isolde* Special to T1IE GAMECOCK “Tristan & Isolde” throw caution to the wind and place the future of Britain and their lives in jeopardy. “Tristan & Isolde” ★ ★★★ out of ☆☆☆☆■& fltarjone Riddle STAFF WRITER “Tristan & Isolde” brings an emotionally epic tale of forbidden love to the big screen. Tristan is a strong-willed knight who grew up under Lord Marke’s care after Britain’s warring factions killed his parents. Tristan and Lord Marke desperately want to unite Britain, and in a battle iptended to aid tfyeir cause, Tristan is severely wounded with a poisonous blade and appears dead. Devastated by his apparent death, his comrades give him a king’s burial, sending him out to sea. Isolde, daughter of Irish King Donnchadh, finds Tristan washed ashore and brings the sickly man back to health. Darting and admiring glances evolve into passionate embraces for Tristan and Isolde, but Tristan has to hastily leave when King Donnchadh sends his soldiers out to kill him. As fate would have it, Tristan killed Isolde’s betrothed in the battle that wounded him. Tristan returns a changed man, but his vision for a unified Britain is close to realization. In staged battles, the leaders of the separated British factions spar with one another to choose their future king, who will also marry King Donnchadh’s daughter. Tristan represents Marke in the sparring matches and wins him the kingdom. Unbeknownst to Tristan, Marke’s newly won betrothed is Isolde, who was masked at the sparring match. The subsequent awe by the two young lovers is suppressed. Isolde marries Marke, but Tristan and Isolde’s love doesn’t fade, and the two are faced with either agonizing inaction or a forbidden affair. The kingdom’s fate rests on the harmony of Marke’s reign, and Tristan and Isolde’s love threatens Britain’s entire future. “Tristan & Isolde” presents a powerful story about love and duty. Unlike certain films that get mired into the political and technical aspects of the countries they portray, this film strays from that formula and focuses on the relationships of its people instead. For such a romantic drama, the history of the country and its battles are irrelevant and not missed. The film could have been shorter. Certain scenes feel as if they are longer than necessary, and fewer furtive glances between the lovers may have helped this length problem. The audience gets the idea that they probably weren’t supposed to be so impassioned from their first few scenes together. While not mind-blowing, the acting carries the film. James Franco, known previously for his secondary role in the “Spiderman” films, proves he can be a leading man. Franco portrays an intense character in Tristan, and he shows his brimming emotions well. In every other scene Franco is either teary-eyed or painfully torn, yet it rarely feels over-the-top ok forced. Sophia Myles gives an adequate performance as Isolde. Her acting isn’t brilliant, but she captures Isolde’s essence as King Donnchadh’s obedient daughter, Tristan’s true love and Marke’s dutiful wife. The tagline for this film reads, “Before there was Romeo and Juliet, there was Tristan and Isolde...” Well, that may be, but there was also Lancelot and Guinevere, and “Tristan & Isolde” feels much like the legend of King Arthur. While the endings may or may not be similar, the basic plots are the same. “Tristan & Isolde” presents all the cliches one might expect from such a film, but even with the unsurprising ending, the film itself is enjoyable. Historically minded viewers may be disappointed with all that’s omitted, but romantics will feel heartened by the love story of “Tristan & Isolde.” Comments on this story? E-mail gamecockfeatures@gwm.sc.fdu CD REVIEW “Frances the Mute" The Mars Volta ★★★★ out of ☆☆☆☆☆ ROCK ALBUM BREAKS SILENCE Chad Henderson FOR THE GAMECOCK Have you ever been riding down the road with your music rocking so hard that it melted your face, and because of your lack of facial tissue you hit a camel gut on? Yeah ... um, me either. When I sat down to write my first CD review for The Gamecock, I didn’t have L to think twice about which CD I wanted to talk about. Two weeks ago a review in the Free Times said that the Mars Volta’s “Frances the Mute” was one of the biggest disappointments of 2005. When the band released “Frances the Mute,” I had high expectations. From the first note I was assaulted with a sonic masterpiece. These guys are musicians to the utmost, explore many genres and take jazz approaches to writing a lot of their music. They’re often put into the “progressive rock” category, and they don’t subscribe to following normal hook driven musical formulas, which makes for a unique auditory experience. In fact, that’s the best way to describe this album: It’s an experience. It’s like walking through the wardrobe and finding Harry Potter singing with Ike Turner. It’s structured, magical and aggressive. 'TT'1 • T ' 1 1 • 1 i lie icvicw i icau ciauucu that this album was a “mindf*** with no melody,” but anyone who listens to this album (save for that one classy gent) can hear there are melodies in every song on the album. It’s unlike anything you’ve ever heard, created by people who understand the mechanics of music very well and use them with each note on the album. Cedric Bixler Zavala’s voice | has amazing range and his high register vocals are a different sound in the vocal landscape of commercial music these days. Guitarist Omar A. Rodriguez-Lopez lays down stylized guitar riffs and bitchin’ solos. Also, one of the best reasons to listen to this album is drummer Jon Theodore. If there is one man who can make your ears bleed with the majesty of percussion, it is he. Theodore recorded this album without the band even playing with him in the studio; he simply turned on a metronome and played every song on the album unaccompanied. And his parts aren’t simple, either. Lesser men have tried to play these parts and have been [ seen crying and running into the woods vowing to live off nuts and berries and never | play the drums again. | The only criticism I have of this album is that the band moils • 6