Henry Rollins, Celebration, Yerba Buena and more 


Thursday • 6

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MARGOT VEIL, AN ENTERTAINMENT Ever since director David Lee met Obie-winning playwright Len Jenkin in 1990 at New Smyrna's Atlantic Center for the Arts, the two have enjoyed a fruitful and lasting collaboration. This weekend, the student body of the University of Central Florida reaps the rewards of that recurring partnership, as Lee directs the second-ever staging of Jenkin's complex comedy noir Margot Veil, An Entertainment. Undergrad and grad students ages 18 to 45 will interpret Jenkin's Americana-laden text, in which an off-off-Broadway actress enters a "transformation parlor" and gets to see herself reborn as three different feminine personae. Abetting the story's forays away from linearity is a musically influenced approach that includes swing dancing to the White Stripes and the use of Bo Diddley as a near-omniscient figure of wisdom. The misapprehension that college kids can only handle Neil Simon ends right here. (8 p.m. at Black Box Theater, University of Central Florida; through Oct. 23; 8 p.m. Thursday-Saturday, 2 p.m. Sunday; also 2 p.m. Saturday, Oct. 15; reception and talkback with the playwright Saturday, Oct. 22; $10, $15; 407-823-1500)

Saturday • 8

PETER HOOK How does it feel? "I really enjoy it," explains Peter Hook (talking on the phone from England), who's on temporary DJ loan from New Order. "I've rediscovered my passion for music, to excite people and get people going." Touring the country on what his manager is coyly calling a "24-Hour Party People" situation, ol' Hookie is feeling his roots, literally. His DJ set is made up mostly of New Order/Joy Division obscurities as well as some Hook-ish remixes of such current fops as The Killers. So it's something of a vanity project, but one with merit. While Hook is currently working on a new side project (remember Revenge in the '90s? Didn't think so) called Freebass with Mani of Primal Scream, Arthur Baker and Andy Rourke of The Smiths, it should be great to have him momentarily back in the context that we know him: a loopy and low drone pulling down the middle of Mancunian miserablism. Even if it is behind a record player. Hell, when's the last time New Order played Orlando? Be there, and/or be very, very sad. (doors 9 p.m. at The Social; $15; 407-246-1419)

LA FILLE MAL GARDÉE On paper, it may look like a fish dish you'd find on an Atkins-friendly menu of nouvelle cuisine, but the Orlando Ballet's season opener – "The Misbehaved Daughter," en anglais – is actually the tale of a young woman who has to choose between a poor but handsome farmer and the wealthy dope she's supposed to marry. (Having toiled away for years in profitless ethicality ourselves, we know what our suggestion would be: Grab that rock-stupid sugar daddy and don't let go!) In setting movement to Ferdinand Herold's music, choreographer Samantha Dunster had some help from Orlando Ballet artistic director Fernando Bujones, who also made some key contributions to her vision of last spring's Camelot. What a year for love triangles in leotards, eh? (8 p.m. at Carr Performing Arts Centre; also 8 p.m. Saturday and 2 p.m. Sunday; $12-$65; 407-426-1739)

Sunday • 9

CEREAL KILLER SUNDAY The deadly delightful duo of artist Doug Rhodehamel and writer Liz Langley (both of whom, we're proud to say, were once part of Orlando Weekly) never seem to tire of finding ways to amuse themselves and others. Every second Sunday morning of the month, they drag themselves down to The Peacock Room for Cereal Sundays, an event of their own creation. For this month's installment, the word "Killer" has been dropped into the title to reflect the Halloween festiveness they have planned, such as the serving of "Dahmer Eggs, Manson Juice and other Cereal Killer snacks." Doug's doing the decorating, which means it really will be killer. The invite also says, "Those attending are encouraged to wear their PJs and can expect Tons of Cartoons, Cereal and lots of Booze!" (11 a.m.-3 p.m. at The Peacock Room; free; 407-228-0048)

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HENRY ROLLINS Why can't we just hate Henry Rollins and get on with our lives? He's a loudmouth with an overwhelming need for attention, and he gets on our nerves. We know that we're not teenagers anymore and that Black Flag happened a long time ago. But just when we're convinced that Rollins is irrelevant, he opens that big mouth of his and out tumble pearls of wisdom. And they're funny as hell. His delivery is sometimes clunky, and his thoughts aren't the most original, but every time we see him do a spoken word gig, we're either mesmerized by his rollicking intensity or doubled over in guilty laughter. That Rollins has become our generation's best dispenser of revolutionary bons mots either speaks highly of him or poorly of our generation. (doors 6:30 p.m. at House of Blues; $17, $27.50; 407-934-2583)

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CELEBRATION We'd given up on 4AD for being somewhat irrelevant, and then along came Celebration. Sure, the once-vibrant label still occasionally coughs up an album or two of obscure excellence (Piano Magic and Magnetophone come to mind), but for the most part, 4AD has lost its touch when it comes to exciting new bands, preferring instead to focus on exploiting its legacy. Though the sound of this Baltimore group does evoke the label's darker, early days, the angry and wiry music they produce has much more in common with Rema Rema (speaking of Wire) than with Cocteau Twins. Thanks to a tip from the guys in TV on the Radio (who are signed to 4AD outside the U.S.), Celebration may be the band that helps the label stop acting so grown-up. We love the thudding intensity and screeching emotionalism, and we can't wait to see what Dead Can Dance fans think of 'em. (with Calla, New Roman Times; doors 8 p.m. at The Social; $8, $10; 407-246-1419)

Monday • 10

CANDY CABARET What would you call a revue that has a quintet of nubile lassies in not-all-there garb performing comedy, music and "sexy dancing" … but benefits hurricane relief and eschews nudity at all times? A piquant cocktail of pleasing contradictions, we'd wager. (8 p.m. at Orlando Improv; $20; 321-281-8000)

Tuesday • 11

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MY CHEMICAL ROMANCE Dammit, dammit, dammit. We hate this band so very much – their pose, their manufactured angst, their freaking eyeliner. Hate 'em. But that song … that one song they do (over and over again) is a catchy one. We sing it all the time, whether we're in study hall or in the cafeteria or on the bus, because it sums up our emotional state so perfectly. Seriously, it's easy to dismiss MCR as lightweights, but they sure know how to put together a walloping single that, by all rights, should not be on the radio. And speaking of "punk" bands on the radio giving kids a strange idea of what punk stands for, at least these guys are better than Good Charlotte. Prediction: At this sold-out show, Alkaline Trio will blow them off the stage, and with far fewer curse words. (with Alkaline Trio, Reggie & the Full Effect; doors 6 p.m. at House of Blues; $20.50, $25; 407-934-2583)

Wednesday • 12

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YERBA BUENA Having morphed from a scarily effective Latin funk confection into a bizarro cross between Ozomatli, Deee-Lite and Black Eyed Peas, Yerba Buena's new album, Island Life, has us puzzled. They've always been uproariously funky and delivered a danceable good time, but there's something so blankly giddy about the new material that we're left feeling hollow. It's still amazingly infectious, forcefully rhythmic and dripping with pan-Latin sexiness, but we're wondering if the group hasn't seen hip-hop en Espanol begin its inevitable ascent to U.S. domination and tried to make themselves appealing to that audience. Whatever the case, Yerba Buena absolutely tears apart every venue they play in, so go to the show and decide for yourself. (doors 8 p.m. at The Social; $15, $17; 407-246-1419)

Contributors: Jason Ferguson, Billy Manes, Steve Schneider, Lindy T. Shepherd

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