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Redmen triumph Mark Kerr__________________________ At the beginning o f this year’s football season, hopes were high that the McGill Redmen football team would be able to restore the glory that had been missing from their program
in recent years.
However, after losing the first two games o f the season, the team’s prospects appeared bleak. Despite the team’s early season problems, the Redmen can now be deemed legitinate contenders in the Quebec Intercollegiate Football Conference after posting a 2 4 -1 7 victory against perennial power house Laval on Saturday. The Redmen were victorious in front o f a season high crowd o f 4 ,1 2 3 at Molson Stadium. A late fourth quarter touchdown run by Danny Tai was the difference in the hard fought match. The win moves McGill into a second place tie with Laval in the Q IFC with a 2 -2 record. “The players came ready to play physically today,” said head coach Chuck McMann. “We made a lot mistakes in the first half but we ironed them out.” While Tai’s touchdown techni cally won the game, strong defen sive play by the Redmen keyed the victory. For the fourth straight week, linebacker Mike Mahoney was leading tackier on McGill with 16 takedowns, eleven o f which
Laval’s Phillippe Gosselin intercepts a pass intended for Patrick Lanctot. Nevertheless, the Redmen won 2 4 -1 7 ,
Thespians eat breakfast too Michal Zilberman The roots of civilization, the creation o f hierarchy, nationalism, and the destruction in Bosnia are only some o f the powerful themes explored by Adam Zadel in his play Breakfast in E den, written, directed and acted by Zadel and presented in the intimate cabaret theatre, The Balustrade on St.Laurent, Sept. 22
were unassisted. After the game Mahoney, the previous week’s Canadian Intercollegiate Sport defensive
and 23. How McGill Graduate Zadel manages to explore biblical, histori cal, philosophical and personal
player o f the week, acknowledged the contribution o f his teammates
themes in a two-actor, 50 minute play is inspiring. Zadel himself plays five different characters,
Please see FO OTBALL, page 17
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including a Serbian soldier and an eight-year-old version o f himself. H e convincingly interacts with countless imaginary characters on stage. T he play’s main character, played by Zadel, is an aspiring writer named Adam. U nfort unately for Adam, who works in a dingy hotel restaurant flipping eggs, Breakfast in E den is far from para dise. If not for his encouraging and surprisingly optimistic coworker Rachel, played by Lydia Zadel, Adam’s daily dealings with “stuffed shirt, tight wad, pen pinching, overweight, snot-nosed assholes” would be unbearable. As the play progresses we begin
to understand Rachel’s infatuation with Adam and her need to take care o f him, to “put him back together again.” Adam, being the self-involved, angst-ridden artist that he is, never appreciates Rachel’s friendship and instead becomes obsessed with a girl he spots in the subway. In one o f the most phe nomenal and genuine moments of the performance, Adam sits panick ing and yet mesmerized by the sight of this terrified woman, who “swal lows [him] with her eyes.” He’s not sure if he wants to consume or destroy her, but the one thing he is sure of is that he has finally felt something. Her flawless purity, the purity o f “brand new
towels and embroidered table clothes” inspires him to pursue his writing again. To call this play a love story would be exceedingly inadequate and unjust. But how does one describe a plot that’s thematic and non-linear? This play is self-reflex ive; it’s a rite o f passage both for the writer Adam, who is starting a new chapter in his life, and the main character Adam. The character’s journey begins with the discovery o f his dead father’s books, in which he reads poetic truths and poignant criticism o f our society and the structures it creates, such as religion and slavery. Please see B REA KFAST, page 12
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