C01 0010    IT IS NOT NEWS that Nathan Milstein is a wizard of the
C01 0020 violin. Certainly not in Orchestra hall where he has played countless
C01 0030 recitals, and where Thursday night he celebrated his 20th season with
C01 0040 the Chicago Symphony orchestra, playing the Brahms Concerto with
C01 0050 his own slashing, demon-ridden cadenza melting into the high, pale,
C01 0060 pure and lovely song with which a violinist unlocks the heart of the music,
C01 0070 or forever finds it closed.   There was about that song something
C01 0080 incandescent, for this Brahms was Milstein at white heat. Not
C01 0090 the noblest performance we have heard him play, or the most spacious,
C01 0100 or even the most eloquent. Those would be reserved for the orchestra's
C01 0110 great nights when the soloist can surpass himself. This time the
C01 0120 orchestra gave him some superb support fired by response to his own
C01 0130 high mood. But he had in Walter Hendl a willing conductor able only
C01 0140 up to a point.   That is, when Mr& Milstein thrust straight
C01 0150 to the core of the music, sparks flying, bow shredding, violin singing,
C01 0160 glittering and sometimes spitting, Mr& Hendl could go along. But
C01 0170 Mr& Hendl does not go straight to any point. He flounders and
C01 0180 lets music sprawl. There was in the Brahms none of the mysterious and
C01 0190 marvelous alchemy by which a great conductor can bring soloist, orchestra
C01 0200 and music to ultimate fusion. So we had some dazzling and memorable
C01 0210 Milstein, but not great Brahms.   The concert opened with
C01 0220 another big romantic score, Schumann's Overture to "Manfred",
C01 0230 which suffered fate, this time with orchestral thrusts to the Byronic
C01 0240 point to keep it afloat. Hindemith's joust with Weber tunes was
C01 0250 a considerably more serious misfortune, for it demands transluscent
C01 0260 textures, buoyant rhythms, and astringent wit. It got the kind of scrambled,
C01 0270 coarsened performance that can happen to best of orchestras when
C01 0280 the man with the baton lacks technique and style. #BAYREUTH NEXT
C01 0290 SUMMER# The Bayreuth Festival opens July 23 with a new production
C01 0300 of "Tannhaeuser" staged by Wieland Wagner, who is doing all the
C01 0310 operas this time, and conducted by Wolfgang Sawallisch. Sawalisch
C01 0320 also conducts "The Flying Dutch", opening July 24. "Parsifal"
C01 0330 follows July 25, with Hans Knappertsbusch conducting, and he
C01 0340 also conducts "Die Meistersinger", to be presented Aug& 8 and
C01 0350 12. The "Ring" cycles are July 26, 27, 28 and 30, and Aug&
C01 0360 21, 22, 23 and 25. Rudolf Kempe conducts. No casts are listed, but
C01 0370 Lotte Lehmann sent word that the Negro soprano, Grace Bumbry, will
C01 0380 sing Venus in "Tannhaeuser".
C01 0390    REMEMBER HOW BY a series of booking absurdities Chicago
C01 0400 missed seeing the Bolshoi Ballet? Remember how by lack of two big
C01 0410 theaters Chicago missed the first visit of the Royal Danish Ballet?
C01 0420 Well, now we have two big theaters. But barring a miracle, and
C01 0430 don't hold your breath for it, Chicago will not see the Leningrad-Kirov
C01 0440 Ballet, which stems from the ballet cradle of the Maryinsky and
C01 0450 is one of the great companies of the world.   Before you let
C01 0460 loose a howl saying we announced its coming, not once but several times,
C01 0470 indeed we did. The engagement was supposed to be all set for the big
C01 0480 theater in McCormick Place, which Sol Hurok, ballet booker extraordinary,
C01 0490 considers the finest house of its kind in the country- and
C01 0500 of course he doesn't weep at the capacity, either. #@# It
C01 0510 was all set. Allied Arts corporation first listed the Chicago dates
C01 0520 as Dec& 4 thru 10. Later the Hurok office made it Dec& 8 thru
C01 0530 17, a nice, long booking for the full repertory. But if you keep a calendar
C01 0540 of events, as we do, you noticed a conflict. Allied Arts had
C01 0550 booked Marlene Dietrich into McCormick Place Dec& 8 and 9. Something
C01 0560 had to give. Not La Dietrich. Allied Arts then notified
C01 0570 us that the Kirov would cut short its Los Angeles booking, fly here
C01 0580 to open Nov& 28, and close Dec& 2. Shorter booking, but still
C01 0590 a booking. We printed it.   A couple of days later a balletomane
C01 0600 told me he had telephoned Allied Arts for ticket information and was
C01 0610 told "the newspapers had made a mistake". So I started making
C01 0620 some calls of my own. These are the results. #@# The Kirov Ballet
C01 0630 is firmly booked into the Shrine Auditorium, Los Angeles, Nov&
C01 0640 21 thru Dec& 4. Not a chance of opening here Nov& 28-
C01 0650 barring that miracle. Then why not the juicy booking Hurok had held
C01 0660 for us? Well, Dietrich won't budge from McCormick Place. Then
C01 0670 how about the Civic Opera house? Well, Allied Arts has booked
C01 0680 Lena Horne there for a week starting Dec& 4.   Queried about
C01 0690 the impasse, Allied Arts said: "Better cancel the Kirov for
C01 0700 the time being. It's all up in the air again".   So the Kirov
C01 0710 will fly back to Russia, minus a Chicago engagement, a serious
C01 0720 loss for dance fans- and for the frustrated bookers, cancellation of
C01 0730 one of the richest bookings in the country.   Will somebody please
C01 0735 reopen the Auditorium?
C01 0740    Paintings and drawings by Marie Moore of St& Thomas, Virgin
C01 0750 Islands, are shown thru Nov& 5 at the Meadows gallery, 3211
C01 0760 Ellis av&, week days, 3 p& m& to 8 p& m&, Sundays 3 p& m&
C01 0770 to 6 p& m&, closed Mondays. @ #@# An exhibition of
C01 0780 Evelyn Cibula's paintings will open with a reception Nov& 5 at
C01 0790 the Evanston Community center, 828 Davis st&. It will continue all
C01 0800 month. #@# Abstractions and semi-abstractions by Everett McNear
C01 0810 are being exhibited by the University gallery of Notre Dame
C01 0820 until Nov& 5.
C01 0830    In the line of operatic trades to cushion the budget, the Dallas
C01 0840 Civic Opera will use San Francisco's new Leni Bauer-Ecsy
C01 0850 production of "Lucia di Lammermoor" this season, returning the favor
C01 0860 next season when San Francisco uses the Dallas "Don Giovanni",
C01 0870 designed by Franco Zeffirelli.
C01 0880    H E& BATES has scribbled a farce called "Hark, Hark,
C01 0890 the Lark"! It is one of the most entertaining and irresponsible
C01 0900 novels of the season.   If there is a moral lurking among the
C01 0910 shenanigans, it is hard to find. Perhaps the lesson we should take from
C01 0920 these pages is that the welfare state in England still allows wild
C01 0930 scope for all kinds of rugged eccentrics.   Anyway, a number of
C01 0940 them meet here in devastating collisions. One is an imperial London
C01 0950 stockbroker called Jerebohm. Another is a wily countryman called Larkin,
C01 0960 whose blandly boisterous progress has been chronicled, I believe,
C01 0970 in earlier volumes of Mr& Bates' comedie humaine.   What's
C01 0980 up now? Well, Jerebohm and his wife Pinkie have reached the
C01 0990 stage of affluence that stirs a longing for the more atrociously expensive
C01 1000 rustic simplicities.   They want to own a junior-grade castle,
C01 1010 or a manor house, or some modest little place where Shakespeare might
C01 1020 once have staged a pageant for Great Elizabeth and all her bearded
C01 1030 courtiers.   They are willing to settle, however, in anything
C01 1040 that offers pheasants to shoot at and peasants to work at. And of course
C01 1050 Larkin has just the thing they want. #SPLENDOR BY SORCERY#
C01 1060 It's a horror. The name of it is Gore Court, and it is surrounded
C01 1070 by a wasteland that would impress T& S& Eliot. That's not
C01 1080 precisely the way Larkin urges them to look at it, though. He conjures
C01 1090 herds
C01 1100 of deer, and wild birds crowding the air.   He suggests
C01 1110 that Gore Court embodies all the glories of Tudor splendor. The stained-glass
C01 1120 windows may have developed unpremeditated patinas, the paneling
C01 1130 may be no more durable than the planks in a political platform.
C01 1140 The vast, dungeon kitchens may seem hardly worth using except on occasions
C01 1150 when one is faced with a thousand unexpected guests for lunch.
C01 1160    Larkin has an answer to all that. The spaciousness of the Tudor
C01 1170 cooking areas, for example, will provide needed space for the extra
C01 1180 television sets required by modern butlers, cooks and maids. Also, perhaps,
C01 1190 table-tennis and other indoor sports to keep them fit and contented.
C01 1200    It's a wonder, really, to how much mendacious trouble
C01 1210 Larkin puts himself to sell the Jerebohms that preposterous manse.
C01 1220 He doesn't really need the immense sum of money (probably converted
C01 1230 from American gold on the London Exchange) he makes them pay.
C01 1240    For Larkin is already wonderfully contented with his lot. He has
C01 1250 a glorious wife and many children. When he needs money to buy something
C01 1260 like, say, the Rolls-Royce he keeps near his vegetable patch, he
C01 1270 takes a flyer in the sale of surplus army supplies. One of those capital-gains
C01 1280 ventures, in fact, has saddled him with Gore Court. He is
C01 1290 willing to sell it just to get it off his hands.   And the Jerebohms
C01 1300 are more than willing to buy it. They plan to become county people
C01 1310 who know the proper way to terminate a fox's life on earth. #FIRST
C01 1320 ONE, THEN THE OTHER# If, in Larkin's eyes, they are nothing
C01 1330 but Piccadilly farmers, he has as much to learn about them as they
C01 1340 have to learn about the ways of truly rural living.   Mr& Bates
C01 1350 shows us how this mutual education spreads its inevitable havoc. Oneupmanship
C01 1360 is practiced by both sides in a total war.   First
C01 1370 the Larkins are ahead, then the Jerebohms. After Larkin has been persuaded
C01 1380 to restock his tangled acres with pheasants, he poaches only what
C01 1390 he needs for the nourishment of his family and local callers. One
C01 1400 of the local callers, a retired brigadier apparently left over from Kipling's
C01 1410 tales of India, does not approve of the way Larkin gets
C01 1420 his birds.   He doesn't think that potting them from a deck chair
C01 1430 on the south side of the house with a quart glass of beer for sustenance
C01 1440 is entirely sporting. But the brigadier dines on the birds with
C01 1450 relish.
C01 1460    IT is truly odd and ironic that the most handsome and impressive
C01 1470 film yet made from Miguel de Cervantes' "Don Quixote"
C01 1480 is the brilliant Russian spectacle, done in wide screen and color,
C01 1490 which opened yesterday at the Fifty-fifth Street and Sixty-eighth Street
C01 1500 Playhouses.   More than a beautiful visualization of the
C01 1510 illustrious adventures and escapades of the tragi-comic knight-errant
C01 1520 and his squire, Sancho Panza, in seventeenth-century Spain, this inevitably
C01 1530 abbreviated rendering of the classic satire on chivalry is an
C01 1540 affectingly warm and human exposition of character. #@# Nikolai
C01 1550 Cherkasov, the Russian actor who has played such heroic roles as Alexander
C01 1560 Nevsky and Ivan the Terrible, performs the lanky Don Quixote,
C01 1570 and does so with a simple dignity that bridges the inner nobility
C01 1580 and the surface absurdity of this poignant man.   His addle-brained
C01 1590 knight-errant, self-appointed to the ridiculous position in an
C01 1600 age when armor had already been relegated to museums and the chivalrous
C01 1610 code of knight-errantry had become a joke, is, as Cervantes no doubt
C01 1620 intended, a gaunt but gracious symbol of good, moving soberly and sincerely
C01 1630 in a world of cynics, hypocrites and rogues.   Cherkasov
C01 1640 does not caricature him, as some actors have been inclined to do. He
C01 1650 treats this deep-eyed, bearded, bony crackpot with tangible affection
C01 1660 and respect. Directed by Grigory Kozintsev in a tempo that is
C01 1670 studiously
C01 1680 slow, he develops a sense of a high tradition shining brightly and
C01 1690 passing gravely through an impious world.   The complexities
C01 1700 of communication have been considerably abetted in this case by appropriately
C01 1710 stilted English language that has been excellently dubbed in
C01 1720 place of the Russian dialogue. The voices of all the characters, including
C01 1730 that of Cherkasov, have richness, roughness or color to conform
C01 1740 with the personalities. And the subtleties of the dialogue are most
C01 1750 helpfully conveyed. Since Russian was being spoken instead of Spanish,
C01 1760 there is no violation of artistry or logic here.   Splendid,
C01 1770 too, is the performance of Yuri Tolubeyev, one of Russia's leading
C01 1780 comedians, as Sancho Panza, the fat, grotesque "squire". Though
C01 1790 his character is broader and more comically rounded than the don,
C01 1800 he gives it a firmness and toughness- a sort of peasant dignity-
C01 1810 too. It is really as though the Russians have seen in this character
C01 1815 the
C01 1820 oftentimes underlying vitality and courage of supposed buffoons.
C01 1830    The episode in which Sancho Panza concludes the joke that is played
C01 1840 on him when he is facetiously put in command of an "island" is
C01 1850 one of the best in the film. #@# True, the pattern and flow of
C01 1860 the drama have strong literary qualities that are a bit wearisome in
C01 1870 the first half, before Don Quixote goes to the duke's court. But
C01 1880 strength and poignancy develop thenceforth, and the windmill and deathbed
C01 1890 episodes gather the threads of realization of the wonderfulness of
C01 1900 the old boy.   There are other good representations of peasants
C01 1910 and people of the court by actors who are finely costumed and magnificently
C01 1920 photographed in this last of the Russian films to reach this
C01 1930 country in the program of joint cultural exchange.   Also on the
C01 1940 bill at the Fifty-fifth Street is a nice ten-minute color film called
C01 1950 "Sunday in Greenwich Village", a tour of the haunts and joints.
C02 0010    Television has yet to work out a living arrangement with jazz,
C02 0020 which comes to the medium more as an uneasy guest than as a relaxed member
C02 0030 of the family.   There seems to be an unfortunate assumption
C02 0040 that an hour of Chicago-style jazz in prime evening time, for example,
C02 0050 could not be justified without the trimmings of a portentous documentary.
C02 0060 At least this seemed to be the working hypothesis for "Chicago
C02 0070 and All That Jazz", presented on ~NBC-~TV Nov&
C02 0080 26.   The program came out of the ~NBC Special Projects department,
C02 0090 and was slotted in the Du Pont Show of the Week series.
C02 0100 Perhaps Special Projects necessarily thinks along documentary lines.
C02 0110 If so, it might be worth while to assign a future jazz show to a different
C02 0120 department- one with enough confidence in the musical material
C02 0130 to cut down on the number of performers and give them a little room
C02 0140 to display their talents.   As a matter of fact, this latter approach
C02 0150 has already been tried, and with pleasing results. A few years
C02 0155 ago a
C02 0160 "Timex All-Star Jazz Show" offered a broad range of styles,
C02 0170 ranging from Lionel Hampton's big band to the free-wheeling
C02 0180 Dukes of Dixieland. An enthusiastic audience confirmed the "live"
C02 0190 character of the hour, and provided the interaction between musician
C02 0200 and hearer which almost always seems to improve the quality of performance.
C02 0210    About that same time John Crosby's ~TV series
C02 0220 on the popular arts proved again that giving jazz ample breathing space
C02 0230 is one of the most sensible things a producer can do. In an hour remembered
C02 0240 for its almost rudderless movement, a score of jazz luminaries
C02 0250 went before the cameras for lengthy periods. The program had been arranged
C02 0260 to permit the establishment of a mood of intense concentration
C02 0270 on the music. Cameras stared at soloists' faces in extreme closeups,
C02 0280 then considerately pulled back for full views of ensemble work.
C02 0290    "Chicago and All That Jazz" could not be faulted on the choice
C02 0300 of artists. Some of the in-person performers were Jack Teagarden,
C02 0310 Gene Krupa, Bud Freeman, Pee Wee Russell, Johnny St& Cyr,
C02 0320 Joe Sullivan, Red Allen, Lil Armstrong, Blossom Seeley. The
C02 0330 jazz buff could hardly ask for more.   Furthermore, Garry Moore
C02 0340 makes an ideal master of ceremonies. (He played host at the Timex
C02 0350 show already mentioned.)   One of the script's big problems
C02 0360 was how to blend pictures and music of the past with live performances
C02 0370 by musicians of today. ~NBC had gathered a lot of historical material
C02 0380 which it was eager to share. For example, there was sheet music
C02 0390 with the word "jazz" in the title,
C02 0400 to illustrate how a word of uncertain origin took hold. Samples
C02 0410 soomed into closeup range in regular succession, like telephone poles
C02 0420 passing on the highway, while representative music reinforced the mood
C02 0430 of the late teens and 1920's.   However well chosen and cleverly
C02 0440 arranged, such memorabilia unfortunately amounted to more of an
C02 0450 interruption than an auxiliary to the evening's main business, which
C02 0460 (considering the talent at hand) should probably have been the gathering
C02 0470 of fresh samples of the Chicago style.   Another source of
C02 0480 ~NBC pride was its rare film clip of Bix Beiderbecke, but this
C02 0490 view of the great trumpeter flew by so fast that a prolonged wink would
C02 0500 have blotted out the entire glimpse. Similarly, in presenting still
C02 0510 photographs of early jazz groups, the program allowed no time for a
C02 0520 close perusal.   "Chicago and All That Jazz" may have wound
C02 0530 up satisfying neither the confirmed fan nor the inquisitive newcomer.
C02 0540 By trying to be both a serious survey of a bygone era and a showcase
C02 0550 for today's artists, the program turned out to be a not-quite-perfect
C02 0560 example of either. Still, the network's willingness to experiment
C02 0570 in this musical field is to be commended, and future essays happily
C02 0580 anticipated.
C02 0590    Even Joan Sutherland may not have anticipated the tremendous
C02 0600 reception she received from the Metropolitan Opera audience attending
C02 0610 her debut as Lucia in Donizetti's "Lucia di Lammermoor" Sunday
C02 0620 night.   The crowd staged its own mad scene in salvos of
C02 0630 cheers and applause and finally a standing ovation as Miss Sutherland
C02 0640 took curtain call after curtain call following a fantastic "Mad
C02 0650 Scene" created on her own and with the help of the composer and the
C02 0660 other performers.   Her entrance in Scene 2, Act 1, brought some
C02 0670 disconcerting applause even before she had sung a note. Thereafter
C02 0680 the audience waxed applause-happy, but discriminating operagoers reserved
C02 0690 judgment as her singing showed signs of strain, her musicianship
C02 0700 some questionable procedure and her acting uncomfortable stylization.
C02 0720 As she gained composure during the second act, her technical resourcefulness
C02 0730 emerged stronger, though she had already revealed a trill almost
C02 0740 unprecedented in years of performances of "Lucia". She topped
C02 0750 the sextet brilliantly.   Each high note had the crowd in ecstasy
C02 0760 so that it stopped the show midway in the "Mad Scene", but the
C02 0770 real reason was a realization of the extraordinary performance unfolding
C02 0780 at the moment. Miss Sutherland appeared almost as another person
C02 0790 in this scene: A much more girlish Lucia, a sensational coloratura
C02 0800 who ran across stage while singing, and an actress immersed in her
C02 0810 role. What followed the outburst brought almost breathless silence as
C02 0820 Miss Sutherland revealed her mastery of a voice probably unique among
C02 0830 sopranos today.   This big, flexible voice with uncommon range
C02 0840 has been superbly disciplined. Nervousness at the start must have caused
C02 0850 the blemishes of her first scene, or she may warm up slowly. In
C02 0860 the fullness of her vocal splendor, however, she could sing the famous
C02 0870 scene magnificently.   Technically it was fascinating, aurally
C02 0880 spell-binding, and dramatically quite realistic. Many years have passed
C02 0890 since a Metropolitan audience heard anything comparable. Her debut
C02 0900 over, perhaps the earlier scenes will emerge equally fine.   The
C02 0910 performance also marked the debut of a most promising young conductor,
C02 0920 Silvio Varviso. He injected more vitality into the score than
C02 0930 it has revealed in many years. He may respect too much the Italian tradition
C02 0940 of letting singers hold on to their notes, but to restrain them
C02 0950 in a singers' opera may be quite difficult.   Richard Tucker
C02 0960 sang Edgardo in glorious voice. His bel canto style gave the performance
C02 0970 a special distinction. The remainder of the cast fulfilled its
C02 0980 assignments no more than satisfactorily just as the old production and
C02 0990 limited stage direction proved only serviceable.   Miss Sutherland
C02 1000 first sang Lucia at Covent Garden in 1959. (The first Metropolitan
C02 1010 Opera broadcast on Dec& 9 will introduce her as Lucia.)
C02 1015 She
C02 1020 has since turned to Bellini, whose opera "Beatrice di Tenda"
C02 1030 in a concert version with the American Opera Society introduced her
C02 1040 to New York last season. She will sing "La Sonambula" with
C02 1050 it here next week.
C02 1060    Anyone for musical Ping-pong?   It's really quite fun-
C02 1070 as long as you like games. You will need a stereo music system,
C02 1080 with speakers preferably placed at least seven or eight feet apart, and
C02 1090 one or more of the new London "Phase 4" records. There are 12
C02 1100 of these to choose from, all of them of popular music except for the
C02 1110 star release, {Pass in Review} (~SP-44001). This features
C02 1120 the marching songs of several nations, recorded as though the various
C02 1130 national bands were marching by your reviewing stand. Complete with
C02 1140 crowd effects, interruptions by jet planes, and sundry other touches of
C02 1150 realism, this disc displays London's new technique to the best effect.
C02 1160    All of the jackets carry a fairly technical and detailed
C02 1170 explanation of this new recording program. No reference is made to the
C02 1180 possibility of recording other than popular music in this manner, and
C02 1190 it would not seem to lend itself well to serious music. Directionality
C02 1200 is greatly exaggerated most of the time; but when the sounds of
C02 1210 the two speakers are allowed to mix, there is excellent depth and dimension
C02 1220 to the music. You definitely hear some of the instruments close
C02 1230 up and others farther back, with the difference in placement apparently
C02 1240 more distinct than would result from the nearer instruments merely
C02 1250 being louder than the ones farther back. This is a characteristic of
C02 1260 good stereo recording and one of its tremendous advantages over monaural
C02 1270 sound.   London explains that the very distinct directional
C02 1280 effect in the Phase 4 series is due in large part to their novel methods
C02 1290 of microphoning and recording the music on a number of separate tape
C02 1300 channels. These are then mixed by their sound engineers with the active
C02 1310 co-operation of the musical staff and combined into the final two
C02 1320 channels which are impressed on the record. In some of the numbers
C02 1330 the instrumental parts have even been recorded at different times and
C02 1340 then later combined on the master tape to produce special effects.
C02 1350    Some clue to the character of London's approach in these discs
C02 1360 may be gained immediately from the fact that ten of the 12 titles include
C02 1370 the word "percussion" or "percussive". Drums, xylophones,
C02 1380 castanets, and other percussive instruments are reproduced remarkably
C02 1390 well. Only too often, however, you have the feeling that you are sitting
C02 1400 in a room with some of the instruments lined up on one wall to your
C02 1410 left and others facing them on the wall to your right. They are definitely
C02 1420 in the same room with you, but your head starts to swing as
C02 1430 though you were sitting on the very edge of a tennis court watching a
C02 1440 spirited volley.   {The Percussive Twenties} (~SP-44006)
C02 1450 stirs pleasant memories with well-known songs of that day, and Johnny
C02 1460 Keating's Kombo gives forth with tingling jazz in {Percussive
C02 1470 Moods} (~SP-44005). {Big Band Percussion} (~SP-44002)
C02 1480 seemed one of the least attractive discs- the arrangements just
C02 1490 didn't have so much character as the others.   There is an extraordinary
C02 1500 sense of presence in all of these recordings, apparently obtained
C02 1510 at least in part by emphasizing the middle and high frequencies.
C02 1520 The penalty for this is noticeable in the big, bold, brilliant,
C02 1530 but brassy piano sounds in {Melody and Percussion for Two Pianos}
C02 1540 (~SP-44007). All of the releases, however, are recorded at a
C02 1550 gratifyingly high level, with resultant masking of any surface noise.
C02 1560 {Pass in Review} practically guarantees enjoyment, and is a dramatic
C02 1570 demonstration of the potentialities of any stereo music system.
C02 1580    Many Hollywood films manage somehow to be authentic, but not
C02 1590 realistic.   Strange, but true- authenticity and realism often
C02 1610 aren't related at all.   Almost every film bearing the imprimatur
C02 1620 of Hollywood is physically authentic- in fact, impeccably so. In
C02 1630 any given period piece the costumes, bric-a-brac, vehicles, and decor,
C02 1640 bear the stamp of unimpeachable authenticity.   The major studios
C02 1650 maintain a cadre of film librarians and research specialists who
C02 1660 look to this matter. During the making recently of an important Biblical
C02 1670 film, some 40 volumes of research material and sketches not only
C02 1680 of costumes and interiors, but of architectural developments, sports
C02 1690 arenas, vehicles, and other paraphernalia were compiled, consulted, and
C02 1700 complied with.   But, alas, the authenticity seems to stop at
C02 1710 the set's edge. The drama itself- and this seems to be lavishly true
C02 1720 of Biblical drama- often has hardly any relationship with authenticity
C02 1730 at all. The storyline, in sort, is wildly unrealistic.
C02 1740 Thus, in "The Story of Ruth" we have Ruth, Naomi, and Boaz
C02 1750 and sets that are meticulously authentic. But except for a vague adherence
C02 1760 to the basic storyline- i&e&, that Ruth remained with Naomi
C02 1770 and finally wound up with Boaz- the film version has little to
C02 1780 do with the Bible.   And in the new "King of Kings" the
C02 1790 plot involves intrigues and twists and turns that cannot be traced to
C02 1800 the Gospels.   Earlier this month Edward R& Murrow, director
C02 1810 of the United States Information Agency, came to Hollywood and
C02 1820 had dinner with more than 100 leaders of the motion picture industry.
C02 1830    He talked about unauthentic storylines too. He intimated that
C02 1840 they weren't doing the country much good in the Cold War. And
C02 1850 to an industry that prides itself on authenticity, he urged greater realism.
C02 1860    "in many corners of the globe", he said, "the major
C02 1870 source of impressions about this country are in the movies they meet.
C02 1880 Would we want a future-day Gibbon or Macaulay recounting the saga
C02 1890 of America with movies as his prime source of knowledge? Yet for
C02 1900 much of the globe, Hollywood is just that- prime, if not sole, source
C02 1910 of knowledge. If a man totally ignorant of America were to judge
C02 1920 our land and its civilization based on Hollywood alone, what conclusions
C02 1930 do you think he might come to?
C03 0010    Francois D'Albert, Hungarian-born violinist who made his
C03 0020 New York debut three years ago, played a return engagement last night
C03 0030 in Judson Hall. He is now president of the Chicago Conservatory
C03 0040 College. His pianist was Donald Jenni, a faculty member at DePaul
C03 0050 University.   The acoustics of the small hall had been misgauged
C03 0060 by the artists, so that for the first half of the program, when
C03 0065 the
C03 0070 piano was partially open, Mr& Jenni's playing was too loud. In
C03 0080 vying with him, Mr& D'Albert also seemed to be overdriving his
C03 0090 tone.   This was not an overriding drawback to enjoyment of the
C03 0100 performances, however, except in the case of the opening work, Mozart's
C03 0110 Sonata in ~A (K& 526), which clattered along noisily in
C03 0120 an unrelieved fashion.   Brahm's Sonata in ~A, although also
C03 0130 vigorous, stood up well under the two artists' strong, large-scale
C03 0140 treatment. Mr& D'Albert has a firm, attractive tone, which eschews
C03 0150 an overly sweet vibrato. He made the most of the long Brahmsian
C03 0160 phrases, and by the directness and drive of his playing gave the work
C03 0170 a handsome performance.   A Sonata for Violin and Piano, called
C03 0180 "Bella Bella", by Robert Fleming, was given its first United
C03 0190 States performance. The title refers to the nickname given his
C03 0200 wife by the composer, who is also a member of the National Film Board
C03 0210 of Canada. The work's two movements, one melodically sentimental,
C03 0220 the other brightly capricious, are clever enough in a Ravel-like
C03 0230 style, but they rehash a wornout idiom. They might well indicate conjugal
C03 0240 felicity, but in musical terms that smack of Hollywood.   Works
C03 0250 by Dohnanyi, Hubay, Mr& D'Albert himself and Paganini,
C03 0260 indicated that the violinist had some virtuoso fireworks up his sleeve
C03 0270 as well as a reserved attitude toward a lyric phrase. Standard items
C03 0280 by Sarasate and Saint-Saens completed the program. @
C03 0290    IN recent years Anna Xydis has played with the New York
C03 0300 Philharmonic and at Lewisohn Stadium, but her program last night
C03 0310 at Town Hall was the Greek-born pianist's first New York recital
C03 0320 since 1948.   Miss Xydis has a natural affinity for the keyboard,
C03 0330 and in the twenty years since her debut here she has gained the
C03 0340 authority and inner assurance that lead to audience control. And the
C03 0350 tone she commands is always beautiful in sound.   Since she also
C03 0360 has considerable technical virtuosity and a feeling for music in the
C03 0370 romantic tradition, Miss Xydis gave her listeners a good deal of pleasure.
C03 0380 She played with style and a touch of the grand manner, and every
C03 0390 piece she performed was especially effective in its closing measures.
C03 0400    The second half of her program was devoted to Russian composers
C03 0410 of this century. It was in them that Miss Xydis was at her best.
C03 0420 The Rachmaninoff Prelude No& 12, Op& 32, for instance, gave
C03 0430 her an opportunity to exploit one of her special facilities- the
C03 0440 ability to produce fine deep-sounding bass tones while contrasting them
C03 0450 simultaneously with fine silver filagree in the treble.   The
C03 0460 four Kabalevsky Preludes were also assured, rich in color and songful.
C03 0470 And the Prokofieff Seventh Sonata had the combination of romanticism
C03 0480 and modern bravura that Prokofieff needs.   Miss
C03 0490 Xydis'
C03 0500 earlier selections were Mendelssohn's Variations Serieuses, in which
C03 0510 each variation was nicely set off from the others; Haydn's Sonata
C03 0520 in ~E minor, which was unfailingly pleasant in sound, and Chopin's
C03 0530 Sonata in ~B flat minor. A memory lapse in the last somewhat
C03 0540 marred the pianist's performance. So what was the deepest music
C03 0550 on her program had the poorest showing. Miss Xydis was best when
C03 0560 she did not need to be too probing.
C03 0570    ALL the generals who held important commands in World War
C03 0580 /2, did not write books. It only seems as if they did. And the
C03 0590 best books by generals were not necessarily the first ones written. One
C03 0600 of the very best is only now published in this country, five years
C03 0610 after its first publication in England. It is "Defeat Into Victory",
C03 0620 by Field Marshal Viscount Slim.   A long book heavily
C03 0630 weighted with military technicalities, in this edition it is neither
C03 0640 so long nor so technical as it was originally. Field Marshal Slim
C03 0650 has abridged it for the benefit of "those who, finding not so great
C03 0660 an attraction in accounts of military moves and counter-moves, are more
C03 0670 interested in men and their reactions to stress, hardship and danger".
C03 0680 The man whose reactions and conclusions get the most space is, of
C03 0690 course, the Field Marshal himself.   William Joseph Slim,
C03 0700 First Viscount Slim, former Governor General of Australia, was the
C03 0710 principal British commander in the field during the Burma War. He
C03 0720 had been a corps commander during the disastrous defeat and retreat
C03 0730 of 1942 when the ill-prepared, ill-equipped British forces "were outmaneuvered,
C03 0740 outfought and outgeneraled". He returned in command of
C03 0750 an international army of Gurkhas, Indians, Africans, Chinese and
C03 0760 British. And in a series of bitterly fought battles in the jungles
C03 0770 and hills and along the great rivers of Burma he waged one of the most
C03 0780 brilliant campaigns of the war. "The Forgotten War" his soldiers
C03 0790 called the Burma fighting because the war in Africa and Europe
C03 0800 enjoyed priorities in equipment and in headlines.   Parts of "Defeat
C03 0810 Into Victory" are a tangle of Burmese place names and military
C03 0820 units, but a little application makes everything clear enough. On
C03 0830 the whole this is an interesting and exceptionally well-written book.
C03 0840 Field Marshal Slim is striking in description, amusing in many anecdotes.
C03 0850 He has a pleasant sense of humor and is modest enough to admit
C03 0860 mistakes and even "a cardinal error". He praises many individuals
C03 0870 generously. He himself seems to be tough, tireless, able and intelligent,
C03 0880 more intellectual and self-critical than most soldiers. #REMAKING
C03 0890 AN ARMY TO WIN# "Defeat Into Victory" is a dramatic
C03 0900 and lively military narrative. But it is most interesting in its account
C03 0920 of the unending problems of high command, of decisions and their
C03 0930 reasons, of the myriad matters that demand attention in addition to battle
C03 0940 action.   Before he could return to Burma, Field Marshal
C03 0950 Slim had to rally the defeated remnants of a discouraged army and unite
C03 0960 them with fresh recruits. His remarks about training, discipline,
C03 0970 morale, leadership and command are enlightening. He believed in making
C03 0980 inspiring speeches and he made a great many. He believed in being
C03 0990 seen near the front lines and he was there. For general morale reasons
C03 1000 and to encourage the efforts of his supply officers, when food was
C03 1010 short for combat troops he cut the rations of his headquarters staff accordingly.
C03 1020    Other crucial matters required constant supervision:
C03 1030 labor and all noncombatant troops, whose morale was vital, too;
C03 1040 administrative organization and delicate diplomatic relations with
C03 1050 Top Brass- British, American and Chinese; health, hygiene, medical
C03 1060 aid and preventive medicine; hospitals (inadequate) and nurses
C03 1070 (scanty); food and military supplies; logistics and transport;
C03 1080 airdrops and airstrips; roads and river barges to be built. #EXPECTED
C03 1090 OF A COMMANDER# Commenting on these and other matters, Field
C03 1100 Marshal Slim makes many frank and provocative remarks:   "When
C03 1110 in doubt as to two courses of action, a general should choose the
C03 1120 bolder".   "The commander has failed in <his> duty if he
C03 1130 has not won victory- for that <is> his duty".   "It only
C03 1140 does harm to talk to troops about new and desirable equipment which
C03 1150 others may have but which you cannot give them. It depresses them. So
C03 1160 I made no mention of air transport until we could get at least some
C03 1170 of it".   Field Marshal Slim is more impressed by the courage
C03 1180 of Japanese soldiers than he is by the ability of their commanders.
C03 1190 Of the Japanese private he says: "He fought and marched till
C03 1200 he died. If 500 Japanese were ordered to hold a position, we had to
C03 1210 kill 495 before it was ours- and then the last five killed themselves".
C03 1220    Brooding about future wars, the Field Marshal has this
C03 1230 to say: "The Asian fighting man is at least equally brave [as
C03 1240 the white], usually more careless of death, less encumbered by mental
C03 1250 doubts, less troubled by humanitarian sentiment, and not so moved by
C03 1260 slaughter and mutilation around him. He is, by background and living
C03 1270 standards, better fitted to endure hardship uncomplainingly, to demand
C03 1280 less in the way of subsistence or comfort, and to look after himself
C03 1290 when thrown on his own resources".
C03 1300    A bunch of young buckaroos from out West, who go by the name
C03 1310 of Texas Boys Choir, loped into Town Hall last night and succeeded
C03 1320 in corralling the hearts of a sizable audience.   Actually, the
C03 1330 program they sang was at least two-thirds serious and high-minded,
C03 1340 and they sang it beautifully. Under the capable direction of the choir's
C03 1350 founder, Geroge Bragg, the twenty-six boys made some lovely sounds
C03 1360 in an opening group of Renaissance and baroque madrigals and motets,
C03 1370 excerpts from Pergolesi's "Stabat Mater" and all of the
C03 1380 Britten "Ceremonial of Carols".   Their singing was well-balanced,
C03 1390 clear and, within obvious limitations, extremely pleasing. The
C03 1400 limitations are those one expects from untrained and unsettled voices-
C03 1410 an occasional shrillness of almost earsplitting intensity, an occasional
C03 1420 waver and now and then a bleat.   But Mr& Bragg is
C03 1430 a remarkably gifted conductor, and the results he has produced with
C03 1440 his boys are generally superior. Most surprising of all, he has accomplished
C03 1450 some prodigies in training for the production of words. The Latin,
C03 1460 for example, was not only clear; it was even beautiful.
C03 1470    Furthermore, there were solid musical virtues in the interpretation
C03 1480 of the music. Lines came out neatly and in good balance. Tempos were
C03 1490 lively. The piano accompaniments by Istvan Szelenyi were stylish.
C03 1500    A boy soprano named Dixon Boyd sang a Durante solo motet and
C03 1510 a few other passages enchantingly. Other capable soloists included
C03 1520 David Clifton, Joseph Schockler and Pat Thompson.   The final
C03 1530 group included folk songs from back home, stomped out, shouted and
C03 1540 chanted with irresistible spirit and in cowboy costume. Boys will be
C03 1550 boys, and Texans will be Texans. The combination proved quite irresistible
C03 1560 last night. @
C03 1570    THE Polish song and dance company called Mazowsze, after
C03 1580 the region of Poland, where it has its headquarters, opened a three-week
C03 1590 engagement at the City Center last night. A thoroughly ingratiating
C03 1600 company it is, and when the final curtain falls you may suddenly
C03 1610 realize that you have been sitting with a broad grin on your face all
C03 1620 evening.   Not that it is all funny, by any means, though some
C03 1630 of it is definitely so, but simply that the dancers are young and handsome,
C03 1640 high-spirited and communicative, and the program itself is as vivacious
C03 1650 as it is varied. There is no use at all in trying to follow
C03 1660 it dance by dance and title by title, for it has a kind of nonstop format,
C03 1670 and moves along in an admirable continuity that demands no pauses
C03 1680 for identification.   The material is all basically of folk origin,
C03 1690 gleaned from every section of Poland. But under the direction of
C03 1700 Mira Ziminska-Sygietynska, who with her late husband founded the
C03 1710 organization in 1948, it has all been put into theatrical form, treated
C03 1720 selectively, choreographed specifically for presentation to spectators,
C03 1730 and performed altogether professionally. Under the surface of the
C03 1740 wide range of folk movements is apparent a sound technical ballet training,
C03 1750 and an equally professional sense of performing. #@# Since
C03 1760 the organization was created thirteen years ago, it is obvious that
C03 1770 this is not the original company; it is more likely the sons and daughters
C03 1780 of that company. The girls are charming children and the men
C03 1790 are wonderfully vital and engaging youngsters. The stage is constantly
C03 1800 full of them; indeed, there are never fewer than eight of them on
C03 1810 stage, and that is only for the more intimate numbers. They can be exuberant
C03 1820 or sentimental, flirtatious or funny, but the only thing they
C03 1830 seem unable to be is dull.   To pick out particular numbers is
C03 1840 something of a problem, but one or two identifiable items are too conspicuously
C03 1850 excellent to be missed. There is for example, a stunning Krakowiak
C03 1860 that closes the first act; the mazurka choreographed by Witold
C03 1870 Zapala to music from Moniuszko's opera, "Strasny Dwor',
C03 1880 may be the most beautiful mazurka you are likely ever to see; there
C03 1890 is an enchanting polonaise; and the dances and songs from the Tatras
C03 1900 contain a magnificent dance for the men.   Everywhere there are
C03 1910 little touches of humor, and the leader of the on-stage band of musicians
C03 1920 is an ebullient comedian who plays all sorts of odd instruments
C03 1930 with winning warmth.
C04 0010    The {THEATRE-BY-THE-SEA}, Matunuck, presents "King
C04 0020 of
C04 0030 Hearts" by Jean Kerr and Eleanor Brooke. Directed by Michael
C04 0040 Murray; settings by William David Roberts. The cast: @
C04 0050    Producer John Holmes has chosen a delightful comedy for his season's
C04 0060 opener at Matunuck in Jean Kerr's "King of Hearts".
C04 0070    The dialogue is sharp, witty and candid- typical "don't eat
C04 0080 the daisies" material- which has stamped the author throughout her
C04 0090 books and plays, and it was obvious that the Theatre-by-the-Sea audience
C04 0100 liked it.   The story is of a famous strip cartoonist, an
C04 0110 arty individual, whose specialty is the American boy and who adopts
C04 0120 a 10-year-old to provide him with fresh idea material.   This is
C04 0130 when his troubles begin, not to mention a fiedgling artist who he hires,
C04 0140 and who turns out to have ideas of his own, with particular respect
C04 0150 to the hero's sweetheart-secretary.   John Heffernan, playing
C04 0160 Larry Larkin, the cartoonist, carries the show in marvelous fashion.
C04 0170 His portrayal of an edgy head-in-the-clouds artist is virtually flawless.
C04 0180    This may be unfortunate, perhaps, from the standpoint
C04 0190 of David Hedison, Providence's contribution to Hollywood, who is
C04 0200 appearing by special arrangement with 20th Century-Fox. Not that
C04 0210 Mr& Hedison does not make the most of his role. He does, and more.
C04 0220 But the book is written around a somewhat dizzy cartoonist, and it
C04 0230 has to be that way.   A word should be said for Gary Morgan, a
C04 0240 Broadway youngsters who, as the adopted son, makes life miserable for
C04 0250 nearly everybody and Larkin in particular. And for his playmate, Francis
C04 0260 Coletta of West Warwick, who has a bit part, Billy.
C04 0270 On the whole, audiences will like this performance. It is a tremendous
C04 0280 book, lively, constantly moving, and the Matunuck cast does well
C04 0290 by it.
C04 0300    The {NEWPORT PLAYHOUSE} presents {"EPITAPH FOR
C04 0310 GEORGE DILLON"}
C04 0320 by John Osborne and Anthony Creighton, directed by Wallace
C04 0330 Gray.   The cast: @   The angriest young man in
C04 0340 Newport last night was at the Playhouse, where "Epitaph for George
C04 0350 Dillon" opened as the jazz festival closed.   For the hero
C04 0360 of this work by John Osborne and Anthony Creighton is a chap embittered
C04 0370 by more than the lack of beer during a jam session. He's mad
C04 0380 at a world he did not make.   Furthermore, he's something of
C04 0390 a scoundrel, an artist whose mind and feelings are all finger-tips.
C04 0400 This is in contrast to the family with whom he boards. They not only
C04 0410 think and feel cliches but live cliches as well.   It is into this
C04 0420 household, one eroded by irritations that have tortured the souls
C04 0430 out of its people, that George Dillon enters at the beginning of the
C04 0440 play.   An unsuccessful playwright and actor, he has faith only
C04 0450 in himself and in a talent he is not sure exists. By the end of the
C04 0460 third act, the artist is dead but the body lingers on, a shell among other
C04 0470 shells.   Not altogether a successful play, "Epitaph for
C04 0480 George Dillon" overcomes through sheer vitality and power what in
C04 0490 a lesser work might be crippling. It is awfully talky, for instance,
C04 0500 and not all of the talk is terribly impressive. But it strikes sparks
C04 0510 on occasion and their light causes all else to be forgotten.
C04 0520 There is a fine second act, as an example, one in which Samuel Groom,
C04 0530 as Dillon, has an opportunity to blaze away in one impassioned passage
C04 0540 after another. This is an exciting young actor to watch.
C04 0550 Just as exciting but in a more technically proficient way is Laura Stuart,
C04 0560 whose complete control of her every movement is lovely to watch.
C04 0570 Miss Stuart is as intensely vibrant as one could wish, almost an
C04 0580 icy shriek threatening to explode at any moment.   Also fine are
C04 0590 Sue Lawless, as a mother more protective and belligerent than a female
C04 0600 spider and just as destructive, Harold Cherry, as her scratchy
C04 0610 spouse, and Hildy Weissman, as a vegetable in human form.   Wallace
C04 0620 Gray has directed a difficult play here, usually well, but with
C04 0630 just a bit too much physical movement in the first act for my taste.
C04 0640 Still, his finale is put together with taste and a most sensitive projection
C04 0650 of that pale sustenance, despair.
C04 0660    The {WARWICK MUSICAL THEATER} presents {"Where's
C04 0670 Charley?"} with music and lyrics by Frank Loesser, directed
C04 0680 by Christopher Hewett, choreography by Peter Conlow, musical direction
C04 0690 by Samuel Matlowsky. The cast: @   Everybody fell
C04 0700 in love with Amy again last night at the Warwick Musical Theater,
C04 0710 and Shelley Berman was to blame.   One of the finest soft shoe
C04 0720 tunes ever invented, "Once in Love with Amy" is also, of course,
C04 0730 one of the most tantalizingly persistent of light love lyrics to come
C04 0740 out of American musical comedy in our era. So the audience last
C04 0750 night was all ears and eyes just after Act /2, got a rousing opening
C04 0760 chorus, "Where's Charley?", and Berman sifted out all alone
C04 0770 on the stage with the ambling chords and beat of the song just whispering
C04 0780 into being.   It is greatly to Berman's credit that he
C04 0790 made no attempt to outdo Ray Bolger. He dropped his earlier and delightful
C04 0800 hamming, which is about the only way to handle the old war horse
C04 0810 called "Charley's Aunt", and let himself go with as an appealing
C04 0820 an "Amy" as anybody could ask.   In brief, Berman played
C04 0830 himself and not Bolger. The big audience started applauding even
C04 0840 before he had finished.   The whole production this week is fresh
C04 0850 and lively. The costumes are stunning evocations of the voluminous
C04 0860 gowns and picture hats of the Gibson Girl days. The ballet work
C04 0870 is on the nose, especially in the opening number by "The New Ashmolean
C04 0880 Marching Society and Students' Conservatory Band", along
C04 0890 with a fiery and sultry Brazilian fantasia later.   Berman, whose
C04 0900 fame has rested in recent years on his skills as a night club monologist,
C04 0910 proved himself very much at home in musical comedy.   Sparrow-size
C04 0920 Virginia Gibson, with sparkling blue eyes and a cheerful
C04 0930 smile, made a suitably perky Amy, while Melisande Congdon, as the real
C04 0935 aunt, was positively
C04 0940 monumental in the very best Gibson Girl manner.
C04 0950    All told, "Where's Charley?" ought not to be missed.
C04 0960 It has a fast pace, excellent music, expert direction, and not only
C04 0970 a good comedian, but an appealing person in his own right, Mr&
C04 0980 Berman.
C04 0990    The Broadway Theater League of Rhode Island presents C&
C04 1000 Edwin Knill's and Martin Tahse's production of {"FIORELLO!"}
C04 1010 at Veterans Memorial Auditorium. The book is by Jerome
C04 1020 Weidman and George Abbott, music by Jerry Bock, lyrics by Sheldon
C04 1030 Harnick, choreography by Peter Gennaro, scenery, costumes and
C04 1040 lighting by William and Jean Eckart, musical direction by Jack Elliott,
C04 1050 and the production was directed by Mr& Abbott. The cast:
C04 1060 @   This is one of the happier events of the season.
C04 1070 The company which performed the Pulitzer Prize musical here last night
C04 1080 and will repeat it twice today is full of bounce, the politicians
C04 1090 are in fine voice, the chorines evoke happy memories, and the Little
C04 1100 Flower rides to break a lance again.   I saw "Fiorello!"
C04 1110 performed in New York by the original cast and I think this company
C04 1120 is every bit as good, and perhaps better.   Certainly in the matter
C04 1130 of principals there is nothing lacking. Bob Carroll may not bear
C04 1140 quite as close a physical resemblance to LaGuardia as Tom Bosley
C04 1150 does, but I was amazed at the way he became more and more Fiorello
C04 1160 as the evening progressed, until one had to catch one's self up and
C04 1170 remember that this wasn't really LaGuardia come back among us again.
C04 1180    Then Rudy Bond was simply grand as Ben, the distraught
C04 1190 Republican Party district chieftain. And Paul Lipson, as Morris,
C04 1200 the faithful one who never gets home to his Shirley's dinner, was
C04 1210 fine, too.   As for the ladies, they were full of charm, and sincerity,
C04 1220 and deep and abiding affection for this hurrying driving, honest,
C04 1230 little man. Charlotte Fairchild was excellent as the loyal Marie,
C04 1240 who became the second Mrs& LaGuardia, singing and acting with
C04 1250 remarkable conviction. Jen Nelson, as Thea, his first wife, managed
C04 1260 to make that short role impressive. And little Zeme North, a Dora
C04 1270 with real spirit and verve, was fascinating whether she was singing of
C04 1280 her love for Floyd, the cop who becomes sewer commissioner and then
C04 1290 is promoted into garbage, or just dancing to display her exuberant feelings.
C04 1300    Such fascinating novelties in the score as the fugual
C04 1310 treatment of "On the Side of the Angels" and "Politics and Poker"
C04 1320 were handled splendidly, and I thought Rudy Bond and his band
C04 1330 of tuneful ward-heelers made "Little Tin Box" even better than
C04 1340 it was done by the New York cast; all the words of its clever
C04 1350 lyrics came through with perfect clarity.   The party at Floyd's
C04 1360 penthouse gave the "chorines" a chance for a nostalgic frolic
C04 1370 through all those hackneyed routines which have become a classic choreographic
C04 1380 statement of the era's nonsense.   LaGuardia's multi-lingual
C04 1390 rallies, when he is running for Congress, are well staged,
C04 1400 and wind up in a wild Jewish folk-dance that is really great musical
C04 1410 theater.   Martin Tahse has established quite a reputation for
C04 1420 himself as a successful stager of touring productions. Not a corner
C04 1430 has been visibly cut in this one. The sets are remarkably elaborate
C04 1440 for a road-show that doesn't pause long in any one place, and they
C04 1450 are devised so that they shift with a minimum of interruption or obtrusiveness.
C04 1460 (Several times recently I have wondered whether shows were
C04 1470 being staged for the sake of the script or just to entertain the audience
C04 1480 with the spectacle of scenery being shifted right in front of their
C04 1490 eyes. I'm glad to say there's none of that distraction in this
C04 1500 "Fiorello!")   It has all been done in superb style,
C04 1510 and the result is a show which deserves the support of every person hereabouts
C04 1520 who enjoys good musical theater.
C04 1530    {LOEW'S THEATER} presents {"Where the Boys are"},
C04 1540 an ~MGM picture produced by Joe Pasternak and directed
C04 1550 by Henry Levin from a screenplay by George Wells. The cast: @
C04 1560    Since the hero, a sterling and upright fellow, is a rich Brown
C04 1570 senior, while two Yalies are cast as virtual rapists, I suppose
C04 1580 I should disqualify myself from sitting in judgment on "Where the
C04 1590 Boys are", but I shall do nothing of the sort.   Instead-
C04 1600 and not just to prove my objectivity- I hasten to report that it's
C04 1610 a highly amusing film which probably does a fairly accurate job of
C04 1620 reporting on the Easter vacation shenanigans of collegians down in Fort
C04 1630 Lauderdale, and that it seems to come to grips quite honestly with
C04 1640 the moral problem that most commonly vexes youngsters in this age group-
C04 1650 that is to say, sex.   The answers the girls give struck
C04 1660 me as reasonably varied and healthily individual. If most of them weren't
C04 1670 exactly specific- well, that's the way it is in life, I guess.
C04 1680 But at least it's reassuring to see some teenagers who don't
C04 1690 profess to know all the answers and are thinking about their problems
C04 1700 instead.   "Where the Boys Are" also has a juvenile bounce
C04 1710 that makes for a refreshing venture in comedy. There are some sharp
C04 1720 and whipping lines and some hilariously funny situations- the best
C04 1730 of the latter being a mass impromptu plunge into a nightclub tank where
C04 1740 a "mermaid" is performing.   Most of the female faces are
C04 1750 new, or at least not too familiar. Dolores Hart, is charming in a leading
C04 1760 role, and quite believable. I was delighted with Paula Prentiss'
C04 1770 comedy performance, which was as fresh and unstilted as one's
C04 1780 highest hopes might ask. A couple of the males made good comedy, too-
C04 1790 Jim Hutton and Frank Gorshin.   The only performance which
C04 1800 was too soft for me was that of Yvette Mimieux, but since someone
C04 1810 had to become the victim of despoilers, just to emphasize that such things
C04 1820 do happen at these fracases, I suppose this was the attitude the
C04 1830 part called for. I must say, however, that I preferred the acting that
C04 1840 had something of a biting edge to it.   To anyone who remembers
C04 1850 Newport at its less than maximum violence, this view of what the
C04 1860 boys and girls do in the springtime before they wing north for the Jazz
C04 1870 Festival ought to prove entertaining.   The second feature,
C04 1880 {"The Price of Silence"}, is a British detective story that
C04 1890 will talk your head off.
C05 0010    The superb intellectual and spiritual vitality of William James
C05 0020 was never more evident than in his letters. Here was a man with an
C05 0030 enormous gift for living as well as thinking. To both persons and ideas
C05 0040 he brought the same delighted interest, the same open-minded relish
C05 0050 for what was unique in each, the same discriminating sensibility and
C05 0060 quicksilver intelligence, the same gallantry of judgment.   For
C05 0070 this latest addition to the Great Letters Series, under the general
C05 0080 editorship of Louis Kronenberger, Miss Hardwick has made a selection
C05 0090 which admirably displays the variety of James's genius, not
C05 0100 to mention the felicities of his style. And how he could <write!>
C05 0110 His famous criticism of brother Henry's "third style" is surely
C05 0120 as subtly, even elegantly, worded an analysis of the latter's intricate
C05 0130 air castles as Henry himself could ever have produced. His letter
C05 0140 to his daughter on the pains of growing up is surely as trenchant,
C05 0150 forthright, and warmly understanding a piece of advice as ever a grown-up
C05 0160 penned to a sensitive child, and with just the right tone of unpatronizing
C05 0170 good humor. #@# Most of all, his letters to his philosophic
C05 0180 colleagues show a magnanimity as well as an honesty which help
C05 0190 to explain Whitehead's reference to James as "that adorable genius".
C05 0200 Miss Hardwick speaks of his "superb gift for intellectual
C05 0210 friendship", and it is certainly a joy to see the intellectual life
C05 0220 lived so free from either academic aridity or passionate dogmatism.
C05 0230    This is a virtue of which we have great need in a society where
C05 0240 there seems to be an increasing lack of communication- or even desire
C05 0250 for communication- between differing schools of thought. It holds
C05 0260 an equally valuable lesson for a society where the word "intellectual"
C05 0270 has become a term of opprobrium to millions of well-meaning people
C05 0280 who somehow imagine that it must be destructive of the simpler human
C05 0290 virtues.   To his Harvard colleague, Josiah Royce, whose philosophic
C05 0300 position differed radically from his own, James could write,
C05 0310 "Different as our minds are, yours has nourished mine, as no other
C05 0320 social influence ever has, and in converse with you I have always felt
C05 0330 that my life was being lived importantly".   Of another colleague,
C05 0340 George Santayana, he could write: "The great event in
C05 0350 my life recently has been the reading of Santayana's book. Although
C05 0360 I absolutely reject the Platonism of it, I have literally squealed
C05 0370 with delight at the imperturbable perfection with which the position
C05 0380 is laid down on page after page". #@# Writing to his colleague
C05 0390 George Herbert Palmer- "Glorious old Palmer", as he addresses
C05 0400 him- James says that if only the students at Harvard could really
C05 0410 understand Royce, Santayana, Palmer, and himself and see that
C05 0420 their varying systems are "so many religions, ways of fronting life,
C05 0430 and worth fighting for", then Harvard would have a genuine philosophic
C05 0440 universe. "The best condition of it would be an open conflict
C05 0450 and rivalry of the diverse systems **h. The world might ring with the
C05 0460 struggle, if we devoted ourselves exclusively to belaboring each other".
C05 0470    The "belaboring" is of course jocular, yet James was
C05 0480 not lacking in fundamental seriousness- unless we measure him by
C05 0490 that ultimate seriousness of the great religious leader or thinker who
C05 0500 stakes all on his vision of God. To James this vision never quite
C05 0510 came, despite his appreciation of it in others.   But there is a
C05 0520 dignity and even a hint of the inspired prophet in his words to one
C05 0525 correspondent:
C05 0530 "You ask what I am going to 'reply' to Bradley.
C05 0540 But why need one reply to everything and everybody? **h I think
C05 0550 that readers generally hate <minute> polemics and recriminations.
C05 0560 All polemic of ours should, I believe, be either very broad statements
C05 0570 of contrast, or fine points treated singly, and as far as possible
C05 0580 impersonally **h. As far as the rising generation goes, why not simply
C05 0590 express ourselves positively, and trust that the truer view quietly
C05 0600 will displace the other. Here again 'God will know his own'".
C05 0610    The collected works of James Thurber, now numbering 25 volumes
C05 0620 (including the present exhibit) represent a high standard of literary
C05 0630 excellence, as every schoolboy knows. The primitive-eclogue quality
C05 0640 of his drawings, akin to that of graffiti scratched on a cave wall,
C05 0650 is equally well known. About all that remains to be said is that the
C05 0660 present selection, most of which appeared first in The New Yorker,
C05 0670 comprises (as usual) a slightly unstrung necklace, held together by little
C05 0680 more than a slender thread cunningly inserted in the spine of the
C05 0690 book.   The one unifying note, if any, is sounded in the initial
C05 0700 article entitled: "How to Get Through the Day". It is repeated
C05 0710 at intervals in some rather sadly desperate word-games for insomniacs,
C05 0720 the hospitalized, and others forced to rely on inner resources,
C05 0730 including (in the ~P's alone) "palindromes", "paraphrases",
C05 0740 and "parodies".   "The Tyranny of Trivia" suggests
C05 0750 arbitrary alphabetical associations to induce slumber. And new vistas
C05 0760 of hairshirt asceticism are opened by scholarly monographs entitled:
C05 0770 "Friends, Romans, Countrymen, Lend Me Your Ear-Muffs",
C05 0780 "Such a Phrase as Drifts Through Dream", and "The New Vocabularianism".
C05 0790 Some of Thurber's curative methods involve strong
C05 0800 potions of mixed metaphor, malapropism, and gobbledygook and are recommended
C05 0810 for use only in extreme cases. #@# A burlesque paean
C05 0820 entitled: "Hark the Herald Tribune, Times, and All the Other
C05 0830 Angels Sing" brilliantly succeeds in exaggerating even motion-picture
C05 0840 ballyhooey. "How the Kooks Crumble" features an amusingly
C05 0850 accurate take-off on sneaky announcers who attempt to homogenize radio-~TV
C05 0860 commercials, and "The Watchers of the Night" is a veritable
C05 0870 waking nightmare.   A semi-serious literary document entitled
C05 0880 "The Wings of Henry James" is noteworthy, if only for a keenly
C05 0890 trenchant though little-known comment on the master's difficult
C05 0900 later period by modest Owen Wister, author of "The Virginian".
C05 0910 James, he remarks in a letter to a friend, "is attempting the impossible
C05 0920 **h namely, to produce upon the reader, as a painting produces
C05 0930 upon the gazer, a number of superimposed, simultaneous impressions. He
C05 0940 would like to put several sentences on top of each other so that you
C05 0950 could read them all at once, and get all at once, the various shadings
C05 0960 and complexities".   Equally penetrating in its fashion is
C05 0970 the following remark by a lady in the course of a literary conversation:
C05 0980 "So much has already been written about everything that you can't
C05 0990 find out anything about it". Or the mildly epigrammatic utterance
C05 1000 (also a quotation): "Woman's place is in the wrong". Who
C05 1010 but Thurber can be counted on to glean such nectareous essences?
C05 1020    A tribute to midsummer "bang-sashes" seems terribly funny,
C05 1030 though it would be hard to explain why. "One of them banged the sash
C05 1040 of the window nearest my bed around midnight in July and I leaped
C05 1050 out of sleep and out of bed. 'It's just a bat' said my wife reassuringly,
C05 1060 and I sighed with relief. 'Thank God for that' I said;
C05 1070 'I thought it was a human being'". #@# In a sense,
C05 1080 perhaps, Thurber is indebted artistically to the surrealist painter
C05 1090 (was it Salvador Dali?) who first conceived the startling fancy of
C05 1100 a picture window in the abdomen. That is, it is literally a picture
C05 1110 window: you don't see into the viscera; you see a picture- trees,
C05 1120 or flowers. This is something like what Thurber's best effects
C05 1130 are like, if I am not mistaken.   Though no longer able to turn
C05 1140 out his protoplasmic pen-and-ink sketches (several old favorites are
C05 1150 scattered through the present volume) Thurber has retained unimpaired
C05 1160 his vision of humor as a thing of simple, unaffected humanness. In
C05 1170 his concluding paragraph he writes: "The devoted writer of humor
C05 1180 will continue to try to come as close to truth as he can". For many
C05 1190 readers Thurber comes closer than anyone else in sight.
C05 1200    The latest Low is a puzzler. The master's hand has lost none
C05 1210 of its craft. He is at his usual best in exposing the shams and self-deceptions
C05 1220 of political and diplomatic life in the fifties. The reader
C05 1230 meets a few old friends like Blimp and the ~TUC horse, and
C05 1240 becomes better acquainted with new members of the cast of characters like
C05 1250 the bomb itself, and civilization in her classic robe watching the
C05 1260 nuclear arms race, her hair standing straight out.   But there
C05 1270 is a difference between the present volume and the early Low. There
C05 1280 is fear in the fifties as his title suggests and as his competent drawings
C05 1290 show. But there was terror in the thirties when the Nazis were
C05 1300 on the loose and in those days Low struck like lightning. #@# Anyone
C05 1310 can draw his own conclusions from this difference. It might be
C05 1320 argued that the Communists are less inhuman than the Nazis and furnish
C05 1330 the artist with drama in a lower key. But this argument cannot be
C05 1340 pushed very far because the Communist system makes up for any shortcomings
C05 1350 of its leaders in respect to corrosion. The Communists wield
C05 1360 a power unknown to Hitler. And the leading issue, that of piecemeal
C05 1370 aggression, remains the same. This is drama enough.   Do we ourselves
C05 1380 offer Mr& Low less of a crusade? In the thirties we would
C05 1390 not face our enemy; that was a nightmarish situation and Low was
C05 1400 in his element. Now we have stood up to the Communists; we are stronger
C05 1410 and more self-confident- and Low cannot so easily put us to rights.
C05 1420    Or does the reason for less Jovian drawings lie elsewhere?
C05 1430 It might be that Low has seen too many stupidities and that they
C05 1440 do not outrage him now. He writes, "Confucius held that in times
C05 1450 of stress one should take short views- only up to lunchtime".
C05 1460    Whatever the cause, his mood in the fifties rarely rises above
C05 1470 the level of the capably sardonic. Dulles? He does not seem to have
C05 1480 caught the subtleties of the man. McCarthy? The skies turn dark
C05 1490 but the clouds do not loose their wrath. Suez? Low seems to have
C05 1500 supported Eden at first and then relented because things worked out differently,
C05 1510 so there is no fire in his eye. #@# Stalin's death,
C05 1520 Churchill's farewell to public life, Hillary and Tensing on Everest,
C05 1530 Quemoy and Matsu- all subjects for a noble anger or an accolade.
C05 1540 Instead the cartoons seem to deal with foibles. Their Eisenhower
C05 1550 is insubstantial. Did Low decide to let well enough alone when
C05 1560 he made his selections?   He often drew the bomb. He showed puny
C05 1570 men attacked by splendidly tyrannical machines. And Khrushchev turned
C05 1580 out to be prime copy for the most witty caricaturist of them all.
C05 1590 But, but and but.   Look in this book for weak mortals and only
C05 1600 on occasion for virtues and vices on the heroic scale. Read the moderately
C05 1610 brief text, not for captions, sometimes for tart epigrams, once
C05 1620 in a while for an explosion in the middle of your fixed ideas.
C05 1630    A gray fox with a patch on one eye- confidence man, city slicker,
C05 1640 lebensraum specialist- tries to take over Catfish Bend in this
C05 1650 third relaxed allegory from Mr& Burman's refreshing Louisiana
C05 1660 animal community.   The fox is all ingratiating smiles when he
C05 1670 arrives from New Orleans, accompanied by one wharf rat. But like all
C05 1680 despots, as he builds his following from among the gullible, he grows
C05 1690 more threatening toward those who won't follow- such solid citizens
C05 1700 as Doc Raccoon; Judge Black, the vegetarian black snake;
C05 1710 and the eagle, who leads the bird community when he is not too busy in
C05 1720 Washington posing for fifty-cent pieces.   As soon as the fox
C05 1730 has taken hold on most of the populace he imports more wharf rats, who,
C05 1740 of course, say they are the aggrieved victims of an extermination
C05 1750 campaign
C05 1760 in the city. (The followers of bullies invariably are aggrieved
C05 1765 about the very things
C05 1770 they plan to do to others.) They train the mink
C05 1780 and other animals to fight. And pretty soon gray fox is announcing that
C05 1790 he won't have anyone around that's against him, and setting out
C05 1800 to break his second territorial treaty with the birds.   Robert
C05 1810 Hillyer, the poet, writes in his introduction to this brief animal
C05 1820 fable that Mr& Burman ought to win a Nobel Prize for the Catfish
C05 1830 Bend series. He may have a point in urging that decadent themes be
C05 1840 given fewer prizes. But it's hard to imagine Mr& Burman as a Nobel
C05 1850 laureate on the basis of these charming but not really momentous
C05 1860 fables.   In substance they lie somewhere between the Southern
C05 1870 dialect animal stories of Joel Chandler Harris (Uncle Remus) and
C05 1880 the polished, witty fables of James Thurber.
C06 0010    George Kennan's account of relations between Russia and the
C06 0020 West from the fall of Tsarism to the end of World War /2, is the
C06 0030 finest piece of diplomatic history that has appeared in many years.
C06 0040 It combines qualities that are seldom found in one work: Scrupulous
C06 0050 scholarship, a fund of personal experience, a sense of drama and characterization
C06 0060 and a broad grasp of the era's great historical issues.
C06 0080    In short, the book, based largely on lectures delivered at Harvard
C06 0090 University, is both reliable and readable; the author possesses
C06 0100 an uncommonly fine English style, and he is dealing with subjects
C06 0110 of vast importance that are highly topical for our time. If Mr&
C06 0120 Kennan is sometimes a little somber in his appraisals, if his analysis
C06 0130 of how Western diplomacy met the challenge of an era of great wars
C06 0140 and social revolutions is often critical and pessimistic- well, the
C06 0150 record itself is not too encouraging.   Mr& Kennan takes careful
C06 0160 account of every mitigating circumstance in recalling the historical
C06 0170 atmosphere in which mistaken decisions were taken. But he rejects,
C06 0180 perhaps a little too sweepingly, the theory that disloyal and pro-Communist
C06 0190 influences may have contributed to the policy of appeasing Stalin
C06 0200 which persisted until after the end of the war and reached its high
C06 0210 point at the Yalta Conference in February, 1945.   After all,
C06 0220 Alger Hiss, subsequently convicted of perjury in denying that he
C06 0230 gave secret State Department documents to Soviet agents, was at Yalta.
C06 0240 And Harry Dexter White, implicated in F&B&I& reports
C06 0250 in Communist associations, was one of the architects of the Morgenthau
C06 0260 Plan, which had it ever been put into full operation, would have
C06 0270 simply handed Germany to Stalin. One item in this unhappy scheme was
C06 0280 to have Germany policed exclusively by its continental neighbors,
C06 0290 among whom only the Soviet Union possessed real military strength.
C06 0300    It is quite probable, however, that stupidity, inexperience and
C06 0310 childish adherence to slogans like "unconditional surrender" had
C06 0320 more to do with the unsatisfactory settlements at the end of the war than
C06 0330 treason or sympathy with Communism. Mr& Kennan sums up his judgment
C06 0340 of what went wrong this way: #DASHED HOPE# "You see,
C06 0350 first of all and in a sense as the source of all other ills, the unshakeable
C06 0360 American commitment to the principle of unconditional surrender:
C06 0370 The tendency to view any war in which we might be involved not as
C06 0380 a means of achieving limited objectives in the way of changes in a given
C06 0390 status quo, but as a struggle to the death between total virtue and
C06 0400 total evil, with the result that the war had absolutely to be fought
C06 0410 to the complete destruction of the enemy's power, no matter what disadvantages
C06 0420 or complications this might involve for the more distant
C06 0430 future".   Recognizing that there could have been no effective
C06 0440 negotiated peace with Hitler, he points out the shocking failure to
C06 0450 give support to the anti-Nazi underground, which very nearly eliminated
C06 0460 Hitler in 1944. A veteran diplomat with an extraordinary knowledge
C06 0470 of Russian language, history and literature, Kennan recalls how, at
C06 0480 the time of Hitler's attack on the Soviet Union in 1941, he penned
C06 0490 a private note to a State Department official, expressing the hope
C06 0500 that "never would we associate ourselves with Russian purposes in
C06 0510 the areas of eastern Europe beyond her own boundaries".   The
C06 0520 hope was vain. With justified bitterness the author speaks of "what
C06 0530 seems to me to have been an inexcusable body of ignorance about the
C06 0540 nature of the Russian Communist movement, about the history of its
C06 0550 diplomacy, about what had happened in the purges, and about what had
C06 0560 been going on in Poland and the Baltic States". He also speaks of
C06 0570 Franklin D& Roosevelt's "puerile" assumption that "if only
C06 0580 he (Stalin) could be exposed to the persuasive charm of someone
C06 0590 like F&D&R& himself, ideological preconceptions would melt and
C06 0600 Russia's co-operation with the West could be easily arranged".
C06 0610    No wonder Khrushchev's first message to President Kennedy
C06 0620 was a wistful desire for the return of the "good old days" of Roosevelt.
C06 0630    This fascinating story begins with a sketch, rich in
C06 0640 personal detail, of the glancing mutual impact of World War /1, and
C06 0650 the two instalments of the Russian Revolution. The first of these
C06 0660 involved the replacement of the Tsar by a liberal Provisional Government
C06 0670 in March, 1917; the second, the seizure of power by the Bolsheviks
C06 0680 (who later called themselves Communists) in November of the
C06 0690 same year.   As Kennan shows, the judgment of the Allied governments
C06 0700 about what was happening in Russia was warped by the obsession
C06 0710 of defeating Germany. They were blind to the evidence that nothing
C06 0720 could keep the Russian people fighting. They attributed everything
C06 0730 that went wrong in Russia to German influence and intrigue. This,
C06 0740 more than any other factor, led to the fiasco of Allied intervention.
C06 0750 As the author very justly says:   "Had a world war not been
C06 0760 in progress, there would never, under any conceivable stretch of the
C06 0770 imagination, have been an Allied intervention in North Russia".
C06 0780 The scope and significance of this intervention have been grossly exaggerated
C06 0790 by Communist propaganda; here Kennan, operating with precise
C06 0800 facts and figures, performs an excellent job of debunking. #PLEBIAN
C06 0810 DICTATORS# Of many passages in the book that exemplify the author's
C06 0820 vivid style, the characterizations of the two plebeian dictators
C06 0830 whose crimes make those of crowned autocrats pale by comparison may
C06 0840 be selected. On Stalin:   "This was a man of incredible criminality,
C06 0850 of a criminality effectively without limits; a man apparently
C06 0860 foreign to the very experience of love, without mercy or pity;
C06 0870 a man in whose entourage none was ever safe; a man whose hand was set
C06 0880 against all that could not be useful to him at the moment; a man who
C06 0890 was most dangerous of all to those who were his closest collaborators
C06 0900 in crime **h".   And here is Kennan's image of Hitler,
C06 0905 Stalin's
C06 0910 temporary collaborator in the subjugation and oppression of
C06 0920 weaker peoples, and his later enemy:   "Behind that Charlie
C06 0930 Chaplin moustache and that truant lock of hair that always covered
C06 0940 his forehead, behind the tirades and the sulky silences, the passionate
C06 0950 orations and the occasional dull evasive stare, behind the prejudices,
C06 0960 the cynicism, the total amorality of behavior, behind even the tendency
C06 0970 to great strategic mistakes, there lay a statesman of no mean qualities:
C06 0980 Shrewd, calculating, in many ways realistic, endowed- like
C06 0990 Stalin- with considerable powers of dissimulation, capable of playing
C06 1000 his cards very close to his chest when he so desired, yet bold and
C06 1010 resolute in his decisions, and possessing one gift Stalin did not
C06 1020 possess: The ability to rouse men to fever pitch of personal devotion
C06 1030 and enthusiasm by the power of the spoken word".   Two criticisms
C06 1040 of this generally admirable and fascinating book involve the treatment
C06 1050 of wartime diplomacy which is jagged at the edges- there is
C06 1060 no mention of the Potsdam Conference or the Morgenthau Plan. And
C06 1070 in a concluding chapter about America's stance in the contemporary
C06 1080 world, one senses certain misplacements of emphasis and a failure to come
C06 1090 to grips with the baffling riddle of our time: How to deal with
C06 1100 a wily and aggressive enemy without appeasement and without war.
C06 1110    But one should not ask for everything. Mr& Kennan, who has recently
C06 1120 abandoned authorship for a new round of diplomacy as the recently
C06 1130 appointed American ambassador to Yugoslavia, is not the only man who
C06 1140 finds it easier to portray the past than to prescribe for the future.
C06 1150 The story of a quarter of a century of Soviet-Western relations
C06 1160 is vitally important, and it is told with the fire of a first-rate historical
C06 1170 narrator.
C06 1180 The Ireland we usually hear about in the theater is a place of bitter
C06 1190 political
C06 1200 or domestic unrest, lightened occasionally with flashes of native wit
C06 1210 and charm. In "Donnybrook", there is quite a different Eire, a
C06 1220 rural land where singing, dancing, fist-fighting and romancing are the
C06 1230 thing. There is plenty of violence, to be sure, but it is a nice violence
C06 1240 and no one gets killed. By and large, Robert McEnroe's adaptation
C06 1250 of Maurice Walsh's film, "The Quiet Man", provides
C06 1260 the entertainment it set out to, and we have a lively musical show if
C06 1270 not a superlative one. _@_ This is the tale of one John Enright,
C06 1280 an American who has accidentally killed a man in the prize ring
C06 1290 and is now trying to forget about it in a quiet place where he may become
C06 1300 a quiet man. But Innesfree, where Ellen Roe Danaher and her
C06 1310 bullying brother, Will, live, is no place for a man who will not use
C06 1320 his fists. So Enright's courting of the mettlesome Ellen is impeded
C06 1330 considerably, thereby providing the tale which is told. You may be
C06 1340 sure he marries her in the end and has a fine old knockdown fight with
C06 1350 the brother, and that there are plenty of minor scraps along the way
C06 1360 to ensure that you understand what the word Donnybrook means.
C06 1370 Then there is a matchmaker, one Mikeen Flynn, a role for which Eddie
C06 1380 Foy was happily selected. Now there is no reason in the world why
C06 1390 a matchmaker in Ireland should happen also to be a talented soft-shoe
C06 1400 dancer and gifted improviser of movements of the limbs, torso and neck,
C06 1410 except that these talents add immensely to the enjoyment of the play.
C06 1420 Mr& Foy is a joy, having learned his dancing by practicing it
C06 1430 until he is practically perfect. His matchmaking is, naturally, incidental,
C06 1440 and it only serves Flynn right when a determined widow takes
C06 1450 him by the ear and leads him off to matrimony.   Art Lund, a fine
C06 1460 big actor with a great head of blond hair and a good voice, impersonates
C06 1470 Enright. Although he is not graced with the subtleties of romantic
C06 1480 technique, that's not what an ex-prize fighter is supposed to have,
C06 1490 anyway. Joan Fagan, a fiery redhead who can impress you that she
C06 1500 has a temper whether she really has one or not, plays Ellen, and sings
C06 1510 the role very well, too. If the mettle which Ellen exhibits has
C06 1520 a bit of theatrical dross in it, never mind; she fits into the general
C06 1530 scheme well enough.   Susan Johnson, as the widow, spends the
C06 1540 first half of the play running a bar and singing about the unlamented
C06 1550 death of her late husband and the second half trying to acquire a new
C06 1560 one. She has a good, firm delivery of songs and adds to the solid virtues
C06 1570 of the evening.   Then there are a pair of old biddies played
C06 1580 by Grace Carney and Sibly Bowan who may be right off the shelf
C06 1590 of stock Irish characters, but they put such a combination of good
C06 1600 will and malevolence into their parts that they're quite entertaining.
C06 1610 And in the role of Will Danaher, Philip Bosco roars and sneers
C06 1620 sufficiently to intimidate not only one American but the whole British
C06 1630 army, if he chose.   "Donnybrook" is no "Brigadoon",
C06 1640 but it does have some very nice romantic background touches and some
C06 1650 excellent dancing. The ballads are sweet and sad, and the music generally
C06 1660 competent. It sometimes threatens to linger in the memory after
C06 1670 the final curtain, and some of it, such as the catchy "Sez I",
C06 1680 does. "A Toast To The Bride", sung by Clarence Nordstrom, playing
C06 1690 a character called Old Man Toomey, is quite simple, direct and
C06 1700 touching.   The men of Innesfree are got up authentically in
C06 1710 cloth caps and sweaters, and their dancing and singing is fine. So is
C06 1720 that of the limber company of lasses who whirl and glide and quickstep
C06 1730 under Jack Cole's expert choreographic direction. The male dancers
C06 1740 sometimes wear kilts and their performance in them is spirited and
C06 1750 stimulating.   Rouben Ter-Arutunian, in his stage settings,
C06 1760 often uses the scrim curtain behind which Mr& Cole has placed couples
C06 1770 or groups who sing and set the mood for the scenes which are to follow.
C06 1780 There is no reason why most theatergoers should not have a pretty
C06 1790 good time at "Donnybrook", unless they are permanently in the
C06 1800 mood of Enright when he sings about how easily he could hate the lovable
C06 1810 Irish.
C06 1820    WE can all breathe more easily this morning- more easily
C06 1830 and joyously, too- because Joshua Logan has turned the stage show,
C06 1840 "Fanny", into a delightful and heart-warming film.   The
C06 1850 task of taking the raw material of Marcel Pagnol's original trio
C06 1860 of French films about people of the waterfront in Marseilles and putting
C06 1870 them again on the screen, after their passage through the Broadway
C06 1880 musical idiom, was a delicate and perilous one, indeed. More than
C06 1890 the fans of Pagnol's old films and of their heroic star, the great
C06 1900 Raimu, were looking askance at the project. The fans of the musical
C06 1910 were, too.   But now the task is completed and the uncertainty
C06 1920 resolved with the opening of the English-dialogue picture at the Music
C06 1930 Hall yesterday. Whether fan of the Pagnol films or stage show, whether
C06 1940 partial to music or no, you can't help but derive joy from this
C06 1950 picture if you have a sense of humor and a heart.
C07 0010    SOME of the New York Philharmonic musicians who live in
C07 0020 the suburbs spent yesterday morning digging themselves free from snow.
C07 0030 A tiny handful never did make the concert. But, after a fifteen-minute
C07 0040 delay, the substantially complete Philharmonic assembled on stage
C07 0050 for the afternoon's proceedings. They faced a rather small audience,
C07 0060 as quite a few subscribers apparently had decided to forego the pleasures
C07 0070 of the afternoon.   It was an excellent concert. Paul
C07 0080 Paray, rounding out his current stint with the orchestra, is a solid
C07 0090 musician, and the Philharmonic plays for him. Their collaboration in
C07 0100 the Beethoven Second Symphony was lucid, intelligent and natural sounding.
C07 0110 It was not a heavy, ponderous Beethoven. The music sang nicely,
C07 0120 sprinted evenly when necessary, was properly accented and balanced.
C07 0130 #@#   The Franck symphonic poem, "Psyche", is a
C07 0140 lush,
C07 0150 sweet-sounding affair that was pleasant to encounter once again. Fortunate
C07 0160 for the music itself, it is not too frequent a visitor; if
C07 0170 it were, its heavily chromatic harmonies would soon become cloying.
C07 0180    Mr& Paray resisted the temptation to over-emphasize the melodic
C07 0190 elements of the score. He did not let the strings, for instance,
C07 0200 weep, whine or get hysterical. His interpretation was a model of refinement
C07 0210 and accuracy.   And in the Prokofieff ~C major Piano
C07 0220 Concerto, with Zadel Skolovsky as soloist, he was an admirable partner.
C07 0230 Mr& Skolovsky's approach to the concerto was bold, sweeping
C07 0240 and tonally percussive. He swept through the music with ease, in a
C07 0250 non-sentimental and ultra-efficient manner. #@# An impressive technician,
C07 0260 Mr& Skolovsky has fine rhythm, to boot. His tone is the
C07 0270 weakest part of his equipment; it tends to be hard and colorless.
C07 0280 A school of thought has it that those attributes are exactly what this
C07 0290 concerto needs. It is, after all, a non-romantic work (even with the
C07 0300 big, juicy melody of the second movement); and the composer himself
C07 0310 was called the "age of steel pianist". But granted all this, one
C07 0320 still would have liked to have heard a little more tonal nuance than
C07 0330 Mr& Skolovsky supplied.   Taken as a whole, though, it was
C07 0340 a strong performance from both pianist and orchestra. Mr& Skolovsky
C07 0350 fully deserved the warm reception he received.   A new work on
C07 0360 the program was Nikolai Lopatnikoff's "Festival Overture",
C07 0370 receiving its first New York hearing. This was composed last year as
C07 0380 a salute to the automobile industry. It is not program music, though.
C07 0390 It runs a little more than ten minutes, is workmanlike, busy, methodical
C07 0400 and featureless.
C07 0410    "La Gioconda", like it or not, is a singer's opera. And
C07 0420 so, of course, it is a fan's opera as well. Snow or no, the fans
C07 0430 were present in force at the Metropolitan Opera last night for a performance
C07 0440 of the Ponchielli work.   So the plot creaks, the sets
C07 0450 are decaying, the costumes are pre-historic, the orchestra was sloppy
C07 0460 and not very well connected with what the singers were doing. After
C07 0470 all, the opera has juicy music to sing and the goodies are well distributed,
C07 0480 with no less than six leading parts.   One of those parts
C07 0490 is that of evil, evil Barnaba, the spy. His wicked deeds were carried
C07 0500 on by Anselmo Colzani, who was taking the part for the first time
C07 0510 with the company.   He has the temperament and the stage presence
C07 0520 for a rousing villain and he sang with character and strong tone.
C07 0530 What was lacking was a real sense of phrase, the kind of legato singing
C07 0540 that would have added a dimension of smoothness to what is, after
C07 0550 all, a very oily character.   Regina Resnik as Laura and Cesare
C07 0560 Siepi as Alvise also were new to the cast, but only with respect
C07 0570 to this season; they have both sung these parts here before. Laura
C07 0580 is a good role for Miss Resnik, and she gave it force, dramatic color
C07 0590 and passion.   Mr& Siepi was, as always, a consummate actor;
C07 0600 with a few telling strokes he characterized Alvise magnificently.
C07 0610 Part of this characterization was, of course, accomplished with the
C07 0620 vocal chords. His singing was strong and musical; unfortunately his
C07 0630 voice was out of focus and often spread in quality.   Eileen Farrell
C07 0640 in the title role, Mignon Dunn as La Cieca and Richard Tucker
C07 0650 as Enzo were holdovers from earlier performances this season, and
C07 0660 all contributed to a vigorous performance. If only they and Fausto
C07 0670 Cleva in the pit had got together a bit more. @
C07 0680    "MELODIOUS birds sing madrigals" saith the poet and no
C07 0690 better description of the madrigaling of the Deller Consort could
C07 0700 be imagined.   Their Vanguard album {Madrigal Masterpieces}
C07 0710 (~BG 609; stereo ~BGS 5031) is a good sample of the special,
C07 0720 elegant art of English madrigal singing. It also makes a fine introduction
C07 0730 to the international art form with good examples of Italian
C07 0740 and English madrigals plus several French "chansons".
C07 0750 The English have managed to hold onto their madrigal tradition better
C07 0760 than anyone else. The original impulses came to England late (in the
C07 0770 sixteenth century) and continue strong long after everyone else had
C07 0780 gone on to the baroque basso continuo, sonatas, operas and the like.
C07 0790    Even after Elizabethan traditions were weakened by the Cromwellian
C07 0800 interregnum, the practice of singing together- choruses, catches
C07 0810 and glees- always flourished. The English never again developed
C07 0820 a strong native music that could obliterate the traces of an earlier
C07 0830 great age the way, say, the opera in Italy blotted out the Italian
C07 0840 madrigal. #EARLY INTEREST# Latter-day interest in Elizabethan singing
C07 0850 dates well back into the nineteenth century in England, much ahead
C07 0860 of similar revivals in other countries. As a result no comparable
C07 0870 literature of the period is better known and better studied nor more
C07 0880 often performed than the English madrigal.   Naturally, Mr&
C07 0890 Deller and the other singers in his troupe are most charming and elegant
C07 0900 when they are squarely in their tradition and singing music by their
C07 0910 countrymen: William Byrd, Thomas Morley and Thomas Tomkins.
C07 0920 There is an almost instrumental quality to their singing, with a tendency
C07 0930 to lift out important lines and make them lead the musical texture.
C07 0940 Both techniques give the music purity and clarity.   Claude
C07 0950 Jannequin's vocal description of a battle (the French equivalents
C07 0960 of tarantara, rum-tum-tum, and boom-boom-boom are very picturesque) is
C07 0970 lots of fun, and the singers get a sense of grace and shape into other
C07 0980 chansons by Jannequin and Lassus. Only with the more sensual, intense
C07 0990 and baroque expressions of Marenzio, Monteverdi and Gesualdo
C07 1000 does the singing seem a little superficial.   Nevertheless, the
C07 1010 musicality, accuracy and infectious charm of these performances, excellently
C07 1020 reproduced, make it an attractive look-see at the period. The
C07 1030 works are presented chronologically. Texts and translations are provided.
C07 1040 #ELEGANCE AND COLOR# The elements of elegance and color in Jannequin
C07 1050 are strong French characteristics. Baroque instrumental music
C07 1060 in Italy and Germany tends to be strong, lively, intense, controlled
C07 1070 and quite abstract. In France, it remained always more picturesque,
C07 1080 more dancelike, more full of flavor.   Couperin and Rameau
C07 1090 gave titles to nearly everything they wrote, not in the later sense
C07 1100 of "program music" but as a kind of nonmusical reference for the close,
C07 1110 clear musical forms filled with keen wit and precise utterance.
C07 1120    Both composers turn up on new imports from France. ~BAM
C07 1130 is the unlikely name of a French recording company whose full label is
C07 1140 Editions de la boite a musique. They specialize in out-of-the-way
C07 1150 items and old French music naturally occupies a good deal of their attention.
C07 1160 {Sonates et Concerts Royaux} of Couperin le grand occupy
C07 1170 two disks (~LD056 and ~LD060) and reveal the impeccable taste
C07 1180 and workmanship of this master- delicate, flexible and gemlike.
C07 1190    The Concerts- Nos& 2, 6, 9, 10 and 14 are represented-
C07 1200 are really closer to chamber suites than to concertos in the Italian
C07 1210 sense. The sonatas, "La Francaise", "La Sultane", "L'Astree"
C07 1220 and "L'Imperiale", are often more elaborately worked
C07 1230 out and, in fact, show a strong Italian influence.   Couperin
C07 1240 also turns up along with some lesser-known contemporaries on a disk
C07 1250 called {Musique Francaise du /18,e Siecle} (~BAM ~LD
C07 1260 060). Jean-Marie LeClair still is remembered a bit, but Bodin de
C07 1270 Beismortier, Corrette and Mondonville are hardly household words.
C07 1280 What is interesting about these chamber works here is how they all reveal
C07 1290 the aspect of French music that was moving toward the rococo.
C07 1300    The Couperin "La Steinkerque", with its battle music, brevity,
C07 1310 wit and refined simplicity, already shakes off Corelli and points
C07 1320 towards the mid-century elegances that ended the baroque era. If
C07 1330 Couperin shows the fashionable trend, the others do so all the more.
C07 1340    All these records have close, attractive sound and the performances
C07 1350 by a variety of instrumentalists is characteristic.   Rameau's
C07 1360 {Six Concerts en Sextuor,} recorded by L'orchestre de
C07 1370 chambre Pierre Menet (~BAM ~LD 046), turn out to be harpsichord
C07 1380 pieces arranged for strings apparently by the composer himself.
C07 1390 The strange, delightful little character pieces with their odd and sometimes
C07 1400 inexplicable titles are still evocative and gracious.   {Maitres
C07 1410 Allemands des /17,e et /18,e Siecles} contains music
C07 1420 by Pachelbel, Buxtehude, Rosenmueller and Telemann, well performed
C07 1430 by the Ensemble Instrumental Sylvie Spycket (~BAM ~LD
C07 1440 035).
C07 1450    Rococo music- a lot of it- was played in Carnegie Recital
C07 1460 Hall on Saturday night in the first of four concerts being sponsored
C07 1470 this season by a new organization known as Globe Concert Arts.
C07 1480    Works by J& C& Bach, Anton Craft, Joseph Haydn, Giuseppe
C07 1490 Sammartini, Comenico Dragonetti and J& G& Janitsch were
C07 1500 performed by seven instrumentalists including Anabel Brieff, flutist,
C07 1510 Josef Marx, oboist, and Robert Conant, pianist and harpsichordist.
C07 1520    Since rococo music tends to be pretty and elegant above all,
C07 1530 it can seem rather vacuous to twentieth-century ears that have grown
C07 1540 accustomed to the stress and dissonances of composers from Beethoven
C07 1550 to Boulez.   Thus there was really an excess of eighteenth-century
C07 1560 charm as one of these light-weight pieces followed another on Saturday
C07 1570 night. Each might find a useful place in a varied musical program,
C07 1580 but taken together they grew quite tiresome.   The performances
C07 1590 were variable, those of the full ensemble being generally satisfying,
C07 1600 some by soloists proving rather trying. @
C07 1610    Ellie Mao, soprano, and Frederick Fuller, baritone, presented
C07 1620 a program of folksongs entitled "East Meets West" in Carnegie
C07 1630 Recital Hall last night. They were accompanied by Anna Mi Lee,
C07 1640 pianist.   Selections from fifteen countries were sung as solos
C07 1650 and duets in a broad range of languages. Songs from China and Japan
C07 1660 were reserved exclusively for Miss Mao, who is a native of China,
C07 1670 and those of the British Isles were sung by Mr& Fuller, who is
C07 1680 English by birth.   This was not a program intended to illustrate
C07 1690 authentic folk styles. On the contrary, Miss Mao and Mr& Fuller
C07 1700 chose many of their arrangements from the works of composers such
C07 1710 as Mendelssohn, Dvorak, Canteloube, Copland and Britten. Thre
C07 1720 was,
C07 1730 therefore, more musical substance in the concert than might have been
C07 1740 the case otherwise. The performances were assured, communicative and
C07 1750 pleasingly informal. @
C07 1760    WHAT was omitted from "A Neglected Education" were
C07 1770 those essentials known as "the facts of life".   Chabrier's
C07 1780 little one-act operetta, presented yesterday afternoon at Town Hall,
C07 1790 is a fragile, precious little piece, very French, not without wit
C07 1800 and charm. The poor uneducated newlywed, a certain Gontran de Boismassif,
C07 1810 has his problems in getting the necessary information. The humor
C07 1820 of the situation can be imagined.   It all takes place in the
C07 1830 eighteenth century. What a silly, artificial way of life, Chabrier
C07 1840 and his librettists chuckle. But they wish they could bring it back.
C07 1850 #@# Chabrier's delightful music stands just at the point where
C07 1860 the classical, rationalist tradition, (handed down to Chabrier largely
C07 1870 in the form of operetta and salon music) becomes virtually neo-classicism.
C07 1880 The musical cleverness and spirit plus a strong sense of taste
C07 1890 and measure save a wry little joke from becoming either bawdy or
C07 1900 mawkish.   The simple, clever production was also able to tread
C07 1910 the thin line between those extremes. Arlene Saunders was charming as
C07 1920 poor Gontran. Yes, Arlene is her name; the work uses the old eighteenth-century
C07 1930 tradition of giving the part of a young inexperienced
C07 1940 youth to a soprano. Benita Valente was delightful as the young wife
C07 1950 and John Parella was amusing as the tutor who failed to do all his tutoring.
C07 1960    The work was presented as the final event in the Town
C07 1970 Hall Festival of Music. It was paired with a Darius Milhaud opera,
C07 1980 "The Poor Sailor", set to a libretto by Jean Cocteau, a
C07 1990 kind of Grand Guignol by the sea, a sailor returns, unrecognized, and
C07 2000 gets done in by his wife.   With the exception of a few spots,
C07 2010 Milhaud's music mostly churns away with his usual collection of ditties,
C07 2020 odd harmonies, and lumbering, satiric orchestration.
C08 0010    Had a funny experience at Newport yesterday afternoon. Sat there
C08 0020 and as a woman sang, she kept getting thinner and thinner, right
C08 0030 before my eyes, and the eyes of some 5,500 other people.   I make
C08 0040 this observation about the lady, Miss Judy Garland, because she brought
C08 0050 up the subject herself in telling a story about a British female
C08 0060 reporter who flattered her terribly in London recently and then wrote
C08 0070 in the paper the next day:   "Judy Garland has arrived
C08 0080 in London. She's not chubby. She's not plump. She's fat".
C08 0090    But who cares, when the lady sings? Certainly not the largest
C08 0100 afternoon audience Newport has ever had at a jazz concert and the
C08 0110 most attentive and quiet. They applauded every number, not only at its
C08 0120 conclusion but also at the first statement of the theme- sometimes
C08 0130 at the first chord.   And Judy sang the lovely old familiar things
C08 0140 which seemed, at times, a blessed relief from the way-out compositions
C08 0150 of the progressive jazzmen who have dominated these proceedings.
C08 0170 Things like "When You're Smiling", "Almost Like Being In
C08 0180 Love", "Do It Again", "Born to Wander", "Alone Together",
C08 0190 "Who Cares?", "Puttin' on the Ritz", "How
C08 0200 Long Has This Been Going On?" and her own personal songs
C08 0210 like "The Man That Got Away", and the inevitable "Over the
C08 0220 Rainbow".   Miss Garland is not only one of the great singers
C08 0230 of our time but she is one of the superb showmen. At the start of
C08 0240 her program there were evidences of pique. She had held to the letter
C08 0250 of her contract and didn't come onto the stage until well after 4
C08 0260 p&m&, the appointed hour, although the Music at Newport people had
C08 0270 tried to get the program underway at 3. Then there was a bad delay
C08 0280 in getting Mort Lindsey's 30-piece orchestra wedged into its chairs.
C08 0290    Along about 4:30, just when it was getting to be about time
C08 0300 to turn the audience over and toast them on the other side, Judy
C08 0310 came on singing, in a short-skirted blue dress with a blue and white jacket
C08 0320 that flapped in the wind. Her bouffant coiffure was fortunately
C08 0330 combed on the left which happened to be the direction from which a brisk
C08 0340 breeze was blowing.   In her first song she waved away one
C08 0350 encroaching photographer who dared approach the throne unbidden and thereafter
C08 0360 the boys with the cameras had to unsheathe their 300 mm& lenses
C08 0370 and shoot at extreme range.   There also came a brief contretemps
C08 0380 with the sound mixers who made the mistake of being overheard during
C08 0390 a quiet moment near the conclusion of "Do It Again", and
C08 0400 she made the tart observation that "I never saw so much moving about
C08 0410 in an audience".   But it didn't take Judy Garland, showman,
C08 0420 long to realize that this sort of thing was par for the course at
C08 0430 Newport and that you have to learn to live with it. Before her chore
C08 0440 was finished she was rescuing wind-blown sheets of music, trundling
C08 0450 microphones about the stage, helping to move the piano and otherwise joining
C08 0460 in the informal atmosphere.   And time after time she really
C08 0470 belted out her songs. Sometimes they struck me as horribly over-arranged-
C08 0480 which was the way I felt about her "Come Rain or Come
C08 0490 Shine"- and sometimes they were just plain magnificent, like her
C08 0500 shatteringly beautiful "Beautiful Weather".   To her partisan
C08 0510 audience, such picayune haggling would have seemed nothing more than
C08 0520 a critic striving to hold his franchise; they just sat back on their
C08 0530 haunches and cried for more, as though they could never get enough.
C08 0540    They were rewarded with splendid, exciting, singing. Her "Rockabye
C08 0550 Your Baby" was as good as it can be done, and her really
C08 0560 personal songs, like "The Man That Got Away" were deeply moving.
C08 0570    The audience wouldn't let her leave until it had heard
C08 0580 "Over The Rainbow"- although the fellow that kept crying for
C08 0590 "Get Happy" had to go home unhappy, about that item anyway. She
C08 0600 was generous with her encores and the audience was equally so with
C08 0610 its cheers and applause and flowers.   All went home happy except
C08 0620 the Newport police, who feared that the throng departing at 6:35
C08 0630 might meet head-on the night crowd drawing nigh, and those deprived of
C08 0640 their happy hour at the cocktail bar.
C08 0650    In Newport last night there were flashes of distant lightning
C08 0660 in the northern skies. This was perhaps symbolic of the jazz of the
C08 0670 evening- flashes in the distance, but no storm.   Several times
C08 0680 it came near breaking, and there were in fact some lovely peals of thunder
C08 0690 from Jerry Mulligan's big band, which is about as fine an aggregation
C08 0700 as has come along in the jazz business since John Hammond
C08 0710 found Count Basie working in a Kansas City trap.   Mulligan's
C08 0720 band has been infected with his solid sense of swing, and what it
C08 0730 does seems far more meaningful than most of the noise generated by the
C08 0740 big concert aggregations.   But what is equally impressive is
C08 0750 the delicacy and wonderful lyric quality of both the band and Mulligan's
C08 0760 baritone sax in a fragile ballad like Bob Brookmeyer's arrangement
C08 0770 of "Django's Castle".   For subtle swinging rhythms,
C08 0780 I could admire intensely Mulligan's version of "Weep", and
C08 0790 the fireworks went on display in "18 Carrots for Robert", a sax
C08 0800 tribute to Johnny Hodges.   There was considerable contrast
C08 0810 between this Mulligan performance and that of Art Blakey and The
C08 0820 Jazz Messengers, who are able to generate a tremendous sound for such
C08 0830 a small group. Unfortunately, Blakey doesn't choose to work much
C08 0840 of the time in this vein. He prefers to have his soloist performing
C08 0850 and thus we get only brief glimpses of what his ensemble work is like.
C08 0860    What we did get, however, was impressive.   A few drops
C08 0870 of rain just before midnight, when Sarah Vaughan was in the midst of
C08 0880 her first number, scattered the more timid members of the audience briefly,
C08 0890 but at this hour and with Sarah on the stand, most of the listeners
C08 0900 didn't care whether they got wet.   Miss Vaughan was back
C08 0910 in top form, somehow mellowed and improved with the passage of time-
C08 0920 like a fine wine. After the spate of female vocalists we have been
C08 0930 having, all of whom took Sarah as a point of departure and then tried
C08 0940 to see what they could do that might make her seem old hat, it seemed
C08 0950 that all that has happened is to make the real thing seem better than
C08 0960 ever. #JAZZ THREE OPEN PROGRAM# The evening program was opened
C08 0970 by the Jazz Three, a Newport group consisting of Steve Budieshein
C08 0980 on bass, Jack Warner, drums, and Don Cook, piano. This was a
C08 0990 continuation of a good idea which was first tried out Saturday night
C08 1000 when the Eddie Stack group, also local talent, went on first.
C08 1010 Putting on local musicians at this place in the program serves a triple
C08 1020 purpose: it saves the top flight jazz men from being wasted in
C08 1030 this unenviable spot, when the audience is cold, restless, and in flux;
C08 1040 it prevents late-comers from missing some of the people they have
C08 1050 come a long way to hear, and it gives the resident musicians a chance
C08 1060 to perform before the famous Newport audience.   The Jazz Three
C08 1070 displayed their sound musicianship, not only in their own chosen set,
C08 1080 but as the emergency accompanists for Al Minns + Leon James, the
C08 1090 superb jazz dancers who have now been Newport performers for three
C08 1100 successive years, gradually moving up from a morning seminar on the evolution
C08 1110 of the blues to a spot on the evening program. #JULIE WILSON
C08 1120 SINGS# Julie Wilson, a vigorous vocalist without many wild twists,
C08 1130 sang a set, a large part of which consisted of such seldom heard old
C08 1140 oldies as "Hard-Hearted Hannah, the Vamp of Savannah", and
C08 1150 the delightful "Sunday". She frosted the cake with the always reliable
C08 1160 "Bill Bailey".   From this taste of the 1920s, we
C08 1170 leaped way out to Stan Getz's private brand of progressive jazz,
C08 1180 which did lovely, subtle things for "Baubles, Bangles and Beads",
C08 1190 and a couple of ballards.   Getz is a difficult musician to categorize.
C08 1200 He plays his sax principally for beauty of tone, rather than
C08 1210 for scintillating flights of meaningless improvisations, and he has
C08 1220 a quiet way of getting back and restating the melody after the improvising
C08 1230 is over. In this he is sticking with tradition, however far removed
C08 1240 from it he may seem to be. #SHEARING TAKES OVER# George Shearing
C08 1250 took over with his well disciplined group, a sextet consisting of
C08 1260 vibes, guitar, bass, drums, Shearing's piano and a bongo drummer.
C08 1270 He met with enthusiastic audience approval, especially when he swung
C08 1280 from jazz to Latin American things like the Mambo. Shearing, himself,
C08 1290 seemed to me to be playing better piano than in his recent Newport
C08 1300 appearances.   A very casual, pleasant program- one of those
C08 1310 easy-going things that make Newport's afternoon programs such a
C08 1320 relaxing delight- was held again under sunny skies, hot sun, and a fresh
C08 1330 breeze for an audience of at least a couple of thousands who came
C08 1340 to Newport to hear music rather than go to the beach.   Divided
C08 1350 almost equally into two parts, it consisted of "The Evolution of
C08 1360 the Blues", narrated by Jon Hendricks, who had presented it last
C08 1370 year at the Monterey, Calif&, Jazz Festival, and an hour-long session
C08 1380 of Maynard Ferguson and his orchestra, a blasting big band.
C08 1390    Hendricks' story was designed for children and he had a small
C08 1400 audience of small children right on stage with him. Tracing the blues
C08 1410 from its African roots among the slaves who were brought to this country
C08 1420 and the West Indies, he stressed the close relationship between
C08 1430 the early jazz forms and the music of the Negro churches. #SURPRISE
C08 1440 ADDITION# To help him on this religious aspect of primitive jazz
C08 1450 he had "Big" Miller, as a preacher-singer and Hannah Dean, Gospel-singer,
C08 1460 while Oscar Brown Jr&, an extremely talented young
C08 1470 man, did a slave auctioneer's call, a field-hands' work song, and
C08 1480 a beautifully sung Negro lullaby, "Brown Baby", which was one of
C08 1490 the truly moving moments of the festival.   One of those delightful
C08 1500 surprise additions, which so frequently occur in jazz programs,
C08 1510 was an excellent stint at the drums by the great Joe Jones, drumming
C08 1520 to "Old Man River", which seems to have been elected the favorite
C08 1530 solo for the boys on the batterie at this year's concerts.
C08 1540    Demonstrating the primitive African rhythmic backgrounds of the Blues
C08 1550 was Michael Babatunde Olatunji, who plays such native drums as
C08 1560 the konga and even does a resounding job slapping his own chest. He
C08 1570 has been on previous Newport programs and was one of the sensations of
C08 1580 last year's afternoon concerts.   Hendricks had Billy Mitchell,
C08 1585 tenor
C08 1590 sax; Pony Poindexter, alto sax; Jimmy Witherspoon,
C08 1600 blues singer (and a good one), and the Ike Isaacs Trio, which has done
C08 1610 such wonderful work for two afternoons now, helping him with the musical
C08 1620 examples.   It all went very well.
C08 1630    PIANISTS who are serious about their work are likely to know
C08 1640 the interesting material contained in Schubert's Sonatas. Music
C08 1650 lovers who are not familiar with this literature may hear an excellent
C08 1660 example, played for ~RCA by Emil Gilels. He has chosen Sonata
C08 1670 Op& 53 in ~D. The playing takes both sides of the disc. Perhaps
C08 1680 one of the reasons these Sonatas are not programmed more often
C08 1690 is their great length. Rhythmic interest, melodic beauty and the expansiveness
C08 1700 of the writing are all qualities which hold one's attention
C08 1710 with the Gilels playing. His technique is ample and his musical ideas
C08 1720 are projected beautifully.   The male chorus of the Robert
C08 1730 Shaw Chorale sings Sea Shanties in fine style. The group is superbly
C08 1740 trained. What a discussion can ensue when the title of this type
C08 1750 of song is in question. Do you say chantey, as if the word were derived
C08 1760 from the French word chanter, to sing, or do you say shanty and think
C08 1770 of a roughly built cabin, which derives its name from the French-Canadian
C08 1780 use of the word chantier, with one of its meanings given as
C08 1790 a boat-yard? I say chantey. Either way, the Robert Shaw chorus
C08 1800 sings them in fine style with every colorful word and its musical frame
C08 1810 spelled out in terms of agreeable listening. If your favorite song
C08 1820 is not here it must be an unfamiliar one.   The London label offers
C08 1830 an operatic recital by Ettore Bastianini, a baritone whose fame
C08 1840 is international.
C09 0010    MURRAY LOUIS and his dance company appeared at the Henry
C09 0020 Street Playhouse on Friday and Saturday evenings and Sunday afternoons
C09 0030 in the premiere of his latest work, "Signal", and the repetition
C09 0040 of an earlier one, "Journal".   "Signal" is choreographed
C09 0050 for three male dancers to an electronic score by Alwin Nikolais.
C09 0060 Its abstract decor is by John Hultberg. Program note reads
C09 0070 as follows:   "Take hands **h this urgent visage beckons us".
C09 0080    Here, as in "Journal", Mr& Louis has given himself
C09 0090 the lion's share of the dancing, and there is no doubt that he is
C09 0100 capable of conceiving and executing a wide variety of difficult and arresting
C09 0110 physical movements. Indeed, both "Journal" and "Signal"
C09 0120 qualify as instructive catalogues of modern-dance calisthenics.
C09 0130    But chains of movements are not necessarily communicative, and
C09 0140 it is in the realm of communication that the works prove disappointing.
C09 0150 One frequently has the feeling that the order of their movement combinations
C09 0160 could be transposed without notable loss of effect, there is
C09 0170 too little suggestion of organic relationship and development.
C09 0180    It may be, of course, that Mr& Louis is consciously trying to create
C09 0190 works that anticipate an age of total automation. But it may be,
C09 0200 also, that he is merely more mindful of athletics than of esthetics
C09 0210 at the present time. One thing is certain, however, and that is that
C09 0220 he is far more slavish to the detailed accents, phrasings and contours
C09 0230 of the music he deals with than a confident dance creator need be. @
C09 0240 #'AN AMERICAN JOURNEY'# A brisk, satirical spoof of contemporary
C09 0250 American mores entitled "An American Journey" was given its
C09 0260 first New York performance at Hunter College Playhouse last night
C09 0270 by the Helen Tamiris-Daniel Nagrin Dance Company. Choreographed
C09 0280 by Mr& Nagrin, the work filled the second half of a program that
C09 0290 also offered the first New York showing of Miss Tamiris' "Once
C09 0300 Upon a Time **h" as well as her "Women's Song" and
C09 0310 Mr& Nagrin's "Indeterminate Figure".   Eugene Lester
C09 0320 assembled a witty and explicit score for "An American Journey",
C09 0330 and Malcolm McCormick gave it sprightly imaginative costumes.
C09 0340    Mr& Nagrin has described four "places", each with its scenery
C09 0350 and people, added two "diversions", and concluded with "A
C09 0360 Toccata for the Young", a refreshingly underplayed interpretation
C09 0370 of rock'n'roll dancing.   The "places" could be anywhere,
C09 0380 the idiosyncrasies
C09 0390 and foibles observed there could be anybody's, and
C09 0400 the laugh is on us all. But we need not mind too much, because Mr&
C09 0410 Nagrin has expressed it through movement that is diverting and clever
C09 0420 almost all the way.   Miss Tamiris' "Once Upon a Time
C09 0430 **h" is a problem piece about a man and a woman and the three "figures"
C09 0440 that bother them somehow.   Unfortunately, the man and
C09 0450 woman were not made to appear very interesting at the outset and the
C09 0460 menacing figures failed to make them any more so. Nor did the dancing
C09 0470 involved really seize the attention at any time. The music here, Russell
C09 0480 Smith's "Tetrameron", sounded good.   All the performances
C09 0490 of the evening were smooth and assured, and the sizable company,
C09 0500 with Mr& Nagrin and Marion Scott as its leading dancers, seemed
C09 0510 to be fine shape.
C09 0520    THE Symphony of the Air, greatly assisted by Van Cliburn,
C09 0530 last night got its seven-concert Beethoven cycle at Carnegie Hall
C09 0540 off to a good start. At the same time the orchestra announced that
C09 0550 next season it would be giving twenty-five programs at Carnegie, and
C09 0560 that it would be taking these concerts to the suburbs, repeating each
C09 0570 of them in five different communities.   This news, announced
C09 0580 by Jerome Toobin, the orchestra's administrative director, brought
C09 0590 applause from the 2,800 persons who filled the hall. They showed they
C09 0600 were glad that Carnegie would have a major orchestra playing there
C09 0610 so often next season to take up the slack with the departure to Lincoln
C09 0620 Center of the New York Philharmonic, the Philadelphia Orchestra
C09 0630 and the Boston Symphony.   This season the orchestra has already
C09 0640 taken a step toward the suburbs in that it is giving six subscription
C09 0650 concerts for the Orchestral Society of Westchester in the County
C09 0660 Center in White Plains. The details of the suburban concerts
C09 0670 next season, and the centers in which they will be given, will be announced
C09 0680 later, Mr& Toobin said. #@# The concertos that Van
C09 0690 Cliburn has been associated with in New York since his triumphant return
C09 0700 from Russia in 1958 have been the Tchaikovsky, the Rachmaninoff
C09 0710 Third, and the Prokofieff Third. It was pleasant last night, therefore,
C09 0720 to hear him do something else: a concerto he has recently recorded,
C09 0730 "The Emperor".   The young Texas pianist can make
C09 0740 great chords ring out as well as anyone, so last night the massive sonorities
C09 0750 of this challenging concerto were no hazard to him. But they
C09 0760 were not what distinguished his performance. The elements that did
C09 0770 were the introspective slow movement, the beautiful transition to the
C09 0780 third movement, and the passages of filigree that laced through the bigger
C09 0790 moments of the opening movement and the final Rondo.   Mr&
C09 0800 Cliburn gave the slow movement some of the quality of a Chopin Nocturne.
C09 0810 Alfred Wallenstein, the conductor, sensitive accompanist that
C09 0820 he is, picked up the idea and led the orchestra here with a sense of
C09 0830 broodinf, poetic mystery. The collaboration was remarkable, as it was
C09 0840 in both the other movements, too. #@# Mr& Wallenstein, who
C09 0850 will lead all of the concerts in the cycle, also conducted the "Leonore"
C09 0860 Overture No& 3 and the Fourth Symphony. The orchestra
C09 0870 was obviously on its mettle and it played most responsively. And although
C09 0880 there was plenty of vigor in the performance, the ensemble was at
C09 0890 its best when the playing was soft and lyrical, yet full of the suppressed
C09 0900 tension that is one of the hallmarks of Beethoven. Igor Oistrakh
C09 0910 will be the next soloist on Feb& 4.
C09 0920    THERE are times when one suspects that the songs that are
C09 0930 dropped from musical shows before they reach Broadway may really be
C09 0940 better than many of those that are left in. Today, in the era of the
C09 0950 integrated musical when an individual song must contribute to the over-all
C09 0960 development of the show, it is understandable that a song, no matter
C09 0970 how excellent it may be on its own terms, is cut out because it does
C09 0980 not perform the function required of it.   In the more casually
C09 0990 constructed musicals of the Nineteen Twenties and Nineteen Thirties
C09 1000 there would seem to have been less reason for eliminating a song
C09 1010 of merit. Yet there is the classic case of the Gershwins' "The
C09 1020 Man I Love". Deemed too static when it was first heard in "Lady
C09 1030 Be Good" in Philadelphia in 1924, it was dropped from the score.
C09 1040 It was heard again in Philadelphia in 1927 in the first version
C09 1050 of "Strike Up the Band" and again abandoned shortly before the
C09 1060 entire show was given up. It finally reached Broadway in the second
C09 1070 and successful version of "Strike Up the Band" in 1929. (Still
C09 1080 another song in "Strike Up the Band"- "I've Got a Crush
C09 1090 on You"- was retrieved from a 1928 failure, "Treasure Girl".)
C09 1100 #SECOND CHANCE# Like the Gershwins, Richard Rodgers and
C09 1110 Lorenz Hart were loath to let a good song get away from them. If one
C09 1120 of Mr& Rodgers' melodies seemed to deserve a better fate than
C09 1130 interment in Boston or the obscurity of a Broadway failure, Mr& Hart
C09 1140 was likely to deck it out with new lyrics to give it a second chance
C09 1150 in another show.   Several of these double entries have been
C09 1160 collected by Ben Bagley and Michael McWhinney, along with Rodgers
C09 1170 and Hart songs that disappeared permanently en route to New York
C09 1180 and others that reached Broadway but have not become part of the constantly
C09 1190 heard Rodgers and Hart repertory, in a delightfully refreshing
C09 1200 album, {Rodgers and Hart Revisited} (Spruce Records, 505 Fifth
C09 1210 Avenue, New York).   Among the particular gems in this collection
C09 1220 is the impudent opening song of "The Garrick Gaieties",
C09 1230 an impressive forecast of the wit and melody that were to come from
C09 1240 Rodgers and Hart in the years that followed; Dorothy Loudon's
C09 1250 raucous listing of the attractions "At the Roxy Music Hall" from
C09 1260 "I Married an Angel"; and the incisive style with which Charlotte
C09 1270 Rae delivers the top-drawer Hart lyrics of "I Blush",
C09 1280 a song that was cut from "A Connecticut Yankee".   Altogether
C09 1290 fifteen virtually unknown Rodgers and Hart songs are sung by
C09 1300 a quintet of able vocalists. Norman Paris has provided them with extremely
C09 1310 effective orchestral accompanimen   Turning to the current
C09 1320 musical season on Broadway, the most widely acclaimed of the new arrivals,
C09 1330 {How to Succeed in Business Without Really Trying},
C09 1340 has been transferred to an original cast album (R& C& A& Victor
C09 1350 ~LOC 1066; stereo ~LSO 1066) that has some entertaining
C09 1360 moments, although it is scarcely as inventive as the praise elicited
C09 1370 by the show might lead one to expect. Robert Morse, singing with comically
C09 1380 plaintive earnestness, carries most of the burden and is responsible
C09 1390 for the high spots in Frank Loesser's score.   Rudy
C09 1400 Vallee, who shares star billing with Mr& Morse, makes only two
C09 1410 appearances. He shares with Mr& Morse a parody of the college anthems
C09 1420 he once sang while his second song is whisked away from him by Virginia
C09 1430 Martin, a girl with a remarkably expressive yip in her voice.
C09 1440 In general, Mr& Loesser has done a more consistent job as lyricist
C09 1450 than he has as composer.   Like Mr& Loesser, Jerry Herman
C09 1460 is both composer and lyriist for {Milk and Honey} (R&
C09 1465 C&
C09 1470 A& Victor ~LOC 1065; stereo ~LSO 1065), but in this
C09 1480 case it is the music that stands above the lyrics. For this story of
C09 1490 an American couple who meet and fall in love in Israel, Mr& Herman
C09 1500 has written songs that are warmly melodious and dance music that sparkles.
C09 1510 #RESOURCEFUL VOICES# There are the full-bodied, resourceful
C09 1520 voices of Robert Weede, Mimi Benzell and Tommy Rall to make the
C09 1530 most of Mr& Herman's lilting melodies and, for an occasional
C09 1540 change of pace, the bright humor of Molly Picon. Mr& Herman has
C09 1550 managed to mix musical ideas drawn from Israel and the standard American
C09 1560 ballad style in a manner that stresses the basic tunefulness of both
C09 1570 idioms.   Not content to create only the music and lyrics, Noe^l
C09 1580 Coward also wrote the book and directed {Sail Away} (Capitol
C09 1590 ~WAO 1643; stereo ~SWAO 1643), a saga of life on a
C09 1600 cruise ship that is not apt to be included among Mr& Coward's more
C09 1610 memorable works. The melodies flow along pleasantly, as Mr& Coward's
C09 1620 songs usually do, but his lyrics have a tired, cut-to-a-familiar-pattern
C09 1630 quality. Elaine Stritch, who sings with a persuasively
C09 1640 warm huskiness, belts some life into most of her songs, but the other
C09 1650 members of the cast sound as lukewarm as Mr& Coward's songs.
C09 1660    WITH three fine Russian films in recent months on World
C09 1670 War /2,- "The House I Live In", "The Cranes Are Flying"
C09 1680 and "Ballad of a Soldier"- we had every right to expect
C09 1690 a real Soviet block-buster in "The Day the War Ended". It
C09 1700 simply isn't, not by a long shot. The Artkino presentation, with English
C09 1710 titles, opened on Saturday at the Cameo Theatre. #@#
C09 1720 Make no mistake, this Gorky Studio drama is a respectable import-
C09 1725 aptly grave, carefully
C09 1730 written, performed and directed. In describing the initial Allied
C09 1740 occupation of a middle-sized German city, the picture has color, pictorial
C09 1750 pull and genuinely moving moments. Told strictly from the viewpoint
C09 1760 of the Russian conquerors, the film compassionately peers over
C09 1770 the shoulders of a smitten Soviet couple, at both sides of the conflict's
C09 1780 aftermath.   Unfortunately, the whole picture hinges on this
C09 1790 romance, at the expense of everything else. Tenderly and rather tediously,
C09 1800 the camera rivets on the abrupt, deep love of a pretty nurse
C09 1810 and a uniformed teacher, complicated by nothing more than a friend they
C09 1820 don't want to hurt. It's the old story, war or no war, and more
C09 1830 than one viewer may recall Hollywood's "Titanic", several seasons
C09 1840 back, when the paramount concern was for the marital discord of
C09 1850 a society dilettante.   Not that the picture is superficial. Under
C09 1860 Yakov Segal's direction, it begins stirringly, as crouching Soviet
C09 1870 and Nazi troops silently scan each other, waiting for the first
C09 1880 surrender gesture. One high-up camera shot is magnificent, as the Germans
C09 1890 straggle from a cathedral, dotting a huge, cobblestone square,
C09 1900 and drop their weapons.
C10 0010 #RING OF BRIGHT WATER, BY GAVIN MAXWELL. 211 PAGES. DUTTON. $5.#
C10 0020 Only
C10 0030 once in a very long while comes a book that gives the reader a magic
C10 0040 sense of sharing a rare experience. "Ring of Bright Water" by
C10 0050 Gavin Maxwell is just that- a haunting, warmly personal chronicle
C10 0060 of a man, an otter, and a remote cottage in the Scottish West Highlands.
C10 0070    "He has married me with **h a ring of bright
C10 0080 water",
C10 0090 begins the Kathleen Raine poem from which Maxwell takes his title,
C10 0100 and it is this mystic bond between the human and natural world that the
C10 0110 author conveys. The place is Camusfearna, the site of a long-vanished
C10 0120 sea-village opposite the isle of Skye. It is a land of long fjords,
C10 0130 few people, a single-lane road miles away- and of wild stags, Greylag
C10 0140 geese, wild swans, dolphins and porpoises playing in the waters.
C10 0150 How Maxwell recounts his first coming to Camusfearna, his furnishing
C10 0160 the empty house with beach-drift, the subtle changes in season over
C10 0170 ten years, is a moving experience. Just the evocations of time and
C10 0180 place, of passionate encounter between man and a natural world which today
C10 0190 seems almost lost, would be enough.   But it isn't. There
C10 0200 is Mijbil, an otter who travelled with Maxwell- and gave Maxwell's
C10 0210 name to a new species- from the Tigris marshes to his London
C10 0220 flat. It may sound extravagant to say that there has never been a more
C10 0230 engaging animal in all literature. This is not only a compliment to
C10 0240 Mijbil, of whom there are a fine series of photographs and drawings
C10 0250 in the book, but to the author who has catalogued the saga of a frightened
C10 0260 otter cub's journey by plane from Iraq to London, then by train
C10 0270 (where he lay curled in the wash basin playing with the water tap)
C10 0280 to Camusfearna, with affectionate detail.   Mij, as his owner
C10 0290 was soon to learn, had strange, inexplicable habits. He liked to nip
C10 0300 ear lobes of unsuspecting visitors with his needle-sharp teeth. He preferred
C10 0310 sleeping in bed with his head on a pillow. Systematically he
C10 0320 would open and ransack drawers. Given a small ball or marbles, he would
C10 0330 invent games and play by himself for hours. With curiosity and elan,
C10 0340 he explored every inch of glen, beach and burn, once stranding himself
C10 0350 for hours on a ledge high up a sheer seventy-foot cliff and waiting
C10 0360 with calm faith to be rescued by Maxwell, who nearly lost his life
C10 0370 in doing so.   A year and a day of this idyll is described for the
C10 0380 reader, one in which not only discovery of a new world of personality
C10 0390 is charted, but self-discovery as well. In the solitude of Camusfearna
C10 0400 there had been no loneliness. "To be quite alone where there
C10 0410 are no other human beings is sharply exhilarating; it is as though some
C10 0420 pressure had suddenly been lifted, allowing an intense awareness **h
C10 0430 a sharpening of the senses".   Now, with the increasing interdependence
C10 0440 between himself and Mij came a knowledge of an obscure need,
C10 0450 that of being trusted implicitly by some creature. Two other people
C10 0460 in time shared Mijbil's love: "**h it remained around us three
C10 0470 that his orb revolved when he was not away in his own imponderable
C10 0480 world of wave and water **h; we were his Trinity, and he behaved
C10 0490 towards us **h with a mixture of trust and abuse, passion and irritation.
C10 0500 In turn each of us in our own way depended, as gods do, upon his
C10 0510 worship".
C10 0520    Yet the idyll ended. The brief details of Mijbil's
C10 0530 death lend depth to the story, give it an edge of ironic tragedy.
C10 0540 Man, to whom Mij gave endless affection and fealty, was responsible
C10 0550 in the form of a road worker with a pickaxe who somehow becomes an abstract
C10 0560 symbol of the savage in man. But then, through a strange coincidence,
C10 0570 Maxwell manages to acquire Idal, a female otter, and the fascinating
C10 0580 story starts once more.   One is not sure who emerges as
C10 0590 the main personality of this book- Mijbil, with his rollicking ways,
C10 0600 or Maxwell himself, poet, portrait painter, writer, journalist, traveller
C10 0610 and zoologist, sensitive but never sentimental recorder of an
C10 0620 unusual way of life, in a language at once lyrical and forceful, vivid
C10 0630 and unabashed. This reviewer read the book when it was first brought
C10 0640 out in England with a sense of discovery and excitement. Now Gavin
C10 0650 Maxwell's ring of bright water has widened to enchant the world.
C10 0660 _NEW YORK_- The performances of the Comedie Francaise are the
C10 0670 most important recent events in the New York theater.   They
C10 0680 serve to contradict a popular notion that the Comedie merely repeats,
C10 0690 as accurately as possible, the techniques of acting the classics that
C10 0700 prevailed in the 17th century. On the contrary, the old plays are continually
C10 0710 being reinterpreted, and each new production of a classic has
C10 0720 only a brief history at the Comedie.   Of course, the well-received
C10 0730 revivals last longer than the others, and that further reminds
C10 0740 us that the Comedie is not insensitive to criticism. The directors of
C10 0750 the Comedie do not respond to adverse notices in as docile and subservient
C10 0760 a manner as the Broadway producers who, in two instances this
C10 0770 season, closed their plays after one performance. But they are aware
C10 0780 of the world outside, they court public approval, they delight in full
C10 0790 houses, and they occasionally dare to experiment in interpreting a dramatic
C10 0800 classic.   In France, novel approaches to the classic French
C10 0810 plays are frequently attempted. The government pays a subsidy
C10 0820 for revival of the classics, and this policy attracts experimenters who
C10 0830 sometimes put Moliere's characters in modern dress and often achieve
C10 0840 interesting results.   So far as I know, the Comedie has never
C10 0850 put Moliere's people in the costumes of the 20th century, but
C10 0860 they do reinterpret plays and characters. Last season, the Comedie's
C10 0870 two principal experiments came to grief, and, in consequence, we can
C10 0880 expect fairly soon to see still newer productions of Racine's "Phedre"
C10 0890 and Moliere's "School for Wives".   The new
C10 0900 "Phedre" was done in 17th century setting, instead of ancient Greek;
C10 0910 perhaps that is the Comedie's equivalent for thrusting this
C10 0920 play's characters into our own time. The speaking of the lines seemed
C10 0930 excessively slow and stately, possibly in an effort to capture the
C10 0940 spirit of 17th century elegance. A few literary men defended what they
C10 0950 took to be an emphasis on the poetry at the expense of the drama, but
C10 0960 the response was mainly hostile and quite violent.   The new "School
C10 0970 for Wives" was interpreted according to a principle that
C10 0980 is becoming increasingly common in the playing of classic comedy- the
C10 0990 idea of turning some obviously ludicrous figure into a tragic character.
C10 1000    Among the Moliere specialists of some years ago, Louis
C10 1010 Jouvet tried to humanize some of the clowns, while Fernand Ledoux,
C10 1020 often performing at the Comedie, made them more gross than Moliere may
C10 1030 have intended.   Apparently, Jouvet and Ledoux attempted just
C10 1040 these dissimilar approaches in the role of Arnolphe in "The School
C10 1050 for Wives". I say "apparently" although I saw Jouvet as
C10 1060 Arnolphe when he visited this country shortly before his death; by
C10 1070 that time, he seemed to have dropped the tragic playing of the last moments
C10 1080 of the comedy.   Arnolphe, it will be recalled, is a man
C10 1090 of mature years who tries to preserve the innocence of his youthful wife-to-be.
C10 1100 The part can lend itself to serious treatment; one influential
C10 1110 French critic remarked: "Pity for Arnolphe comes with age".
C10 1120    Accordingly, at the Comedie last year, Jean Meyer played
C10 1130 a sympathetic Arnolphe and drew criticism for turning the comedy into
C10 1140 a tragedy. But the stuff of tragedy was not truly present and the
C10 1150 play became only comedy acted rather slowly.   Wisely, the Comedie
C10 1160 has brought Moliere's "Tartuffe" on its tour and has left
C10 1170 "The School for Wives" at home. Tartuffe is the religious hypocrite
C10 1190 who courts his benefactor's wife. Jouvet played him as a sincere
C10 1200 zealot, and Ledoux, at the Comedie, made him a gross buffoon, or
C10 1210 so the historians tell us.   Louis Seigner, who formerly played
C10 1220 the deluded benefactor opposite Ledoux, is the Tartuffe of the present
C10 1230 production, which he himself directed. His Tartuffe observes the
C10 1240 golden mean. His red face, his coarse gestures, and his lustful stares
C10 1250 bespeak his sensuality. But his heavenward glances and his pious
C10 1260 speeches are not merely perfunctory; of course, they do not reflect
C10 1270 sincerity, but they exhibit a concern to make a good job out of his
C10 1280 pious impersonation.   Occasionally, Seigner draws some justly
C10 1290 deserved laughs by his quick shifts from one personality to another. The
C10 1300 whole role, by the way, is a considerable transformation for anyone
C10 1310 who has seen Seigner in his other parts. His normal specialty is playing
C10 1320 the good-natured old man, frequently stupid or deluded but never
C10 1330 mean or sly. Here, he is, quite persuasively, the very embodiment of
C10 1340 meanness and slyness.   Seigner is the dean of the company, the
C10 1350 oldest actor in point of continuous service. In that function, he helps
C10 1360 to rebut another legend about the Comedie. We are often told that
C10 1370 the Comedie has, unfortunately, life-contracts with old actors who
C10 1380 are both mediocre and lazy, drawing their pay without much acting but
C10 1390 probably doing real service to the Comedie by staying off the stage.
C10 1400 Seigner, however, is a fine actor and probably the busiest man in the
C10 1410 company; among his other parts are the leads in "The Bourgeois
C10 1420 Gentleman" and "The Imaginary Invalid".   In Moliere's
C10 1430 farce, "The Tricks of Scapin", Robert Hirsch undertakes
C10 1440 another of the great roles. Here some innovation is attempted.
C10 1450 To begin with, Scapin is a trickster in the old tradition of the clever
C10 1460 servant who plots the strategy of courtship for his master. Hirsch's
C10 1470 Scapin is healthy, cheerful, energetic, revelling in his physical
C10 1480 agility and his obvious superiority to the young gentlemen whom he
C10 1490 serves.   Hirsch says that he has given the role certain qualities
C10 1500 he has observed in the city toughs of the real world. And surely
C10 1510 his Scapin has a fresh directness, a no-nonsense quality that seems to
C10 1520 make him his own master and nobody's servant.
C10 1530    DJANGO REINHARDT, the ill-fated gypsy, was a true artist,
C10 1540 one who demonstrated conclusively the power of art to renew itself and
C10 1550 flow into many channels.   There is hardly a jazz guitarist in
C10 1560 the business today who doesn't owe something to Django. And Django
C10 1570 owed much to Louis Armstrong. He told once of how he switched his
C10 1580 style of playing to jazz after listening to two old Armstrong records
C10 1590 he bought in the Flea Market in Paris. It was the first jazz he
C10 1600 had heard.   Django, who was born Jean Baptiste Reinhardt in
C10 1610 Belgium and who died in 1953 in France, was an extraordinary man. Most
C10 1620 of the fingers on his left hand were burned off when he fell asleep
C10 1630 with a cigarette. And this was before he began to play his startlingly
C10 1640 beautiful jazz.   You can catch up with him- if you haven't
C10 1650 already- on ~RCA-Victor's album. "Djangology", made
C10 1660 up of tracks he recorded with Stephane Grappelly and the Quintet of
C10 1670 the Hot Club of France. This is a choice item and Grappely deserves
C10 1680 mention too, of course. He is one of the few men in history who
C10 1690 plays jazz on a violin.   They play: "Minor Swing", "Honeysuckle
C10 1700 Rose", "Beyond the Sea", "Bricktop", "Heavy
C10 1710 Artillery", "Djangology", "After You've Gone", "Where
C10 1720 Are You, My Love"? "I Saw Stars", "Lover Man",
C10 1730 "Menilmontant" and "Swing 42".   All this is great
C10 1740 proceedings- get the minutes.   Kid Ory, the trombonist chicken
C10 1750 farmer, is also one of the solid anchor points of jazz. He dates
C10 1760 back to the days before the first sailing ship pulled into New Orleans.
C10 1770 His horn has blown loud and clear across the land for more years
C10 1780 than he cares to remember.   Good Time Jazz has released a nice
C10 1790 two-record album which he made. He is starred against Alvin Alcorn,
C10 1800 trumpet; Phil Gomez, clarinet; Cedric Haywood, piano; Julian
C10 1810 Davidson, guitar; Wellman Braud, bass, and Minor Hall, drums.
C10 1820    The set contains "High Society", "Do What Ory
C10 1830 Say", "Down Home Rag", "Careless Love", Jazz Me Blues",
C10 1840 "Weary Blues", "Original Dixieland One-Step", "Bourbon
C10 1850 Street Parade", "Panama", "Toot, Toot, Tootsie",
C10 1860 "Oh Didn't He Ramble", "Beale Street Blues", "Maryland,
C10 1870 My Maryland", "1919 Rag", "Eh, La Bas", "Mood
C10 1880 Indigo", and "Bugle Call Rag".   All this will serve
C10 1890 to show off the Ory style in fine fashion and is a must for those
C10 1900 who want to collect elements of the old-time jazz before it is too late
C10 1910 to lay hands on the gems.
C11 0010    MISCHA ELMAN shared last night's Lewisohn Stadium concert
C11 0020 with three American composers.   His portion of the program-
C11 0030 and a big portion it was- consisted of half the major nineteenth-century
C11 0040 concertos for the violin: to wit, the Mendelssohn and the
C11 0050 Tchaikovsky. That is an evening of music-making that would faze many
C11 0060 a younger man; Mr& Elman is 70 years old.   There were
C11 0070 8,000 persons at the Stadium who can tell their grandchildren that they
C11 0080 heard Elman. But, with all due respects and allowances, it must
C11 0090 truthfully be said that what they heard was more syrupy than sweet,
C11 0100 more mannered than musical. The occasion was sentimental; so was the
C11 0110 playing. #@# The American part of the evening consisted of Paul
C11 0120 Creston's Dance Overture, William Schuman's "Chester"
C11 0130 from "New England Triptych" and two works of Wallingford Riegger,
C11 0135 Dance Rhythms,
C11 0140 Op& 58, and a Romanza for Strings, Op&
C11 0145 56~A.
C11 0150    The Creston is purely a potboiler, with Spanish, English,
C11 0160 French and American dances mixed into the stew. The Riegger,
C11 0170 with its Latin hesitation bounce, is just this side of the pale;
C11 0180 like his sweet, attractive Romanza, it belongs to what the composer
C11 0190 called his "Non-Dissonant (Mostly)" category of works. The Schuman
C11 0200 "Chester" takes off from an old William Billings tune with
C11 0210 rousing woodwind and brass effect. #@# All these- potboilers
C11 0220 or no- provided a welcome breath of fresh air in the form of lively,
C11 0230 colorful, unstuffy works well suited for the great out-of-doors. It
C11 0240 was nice to have something a little up-to-date for a change. We have
C11 0250 Alfredo Antonini to thank for this healthy change of diet as well
C11 0260 as the lively performances of the Stadium Symphony.
C11 0270    A WOMAN who undergoes artificial insemination against the
C11 0280 wishes of her husband is the unlikely heroine of "A Question of Adultery",
C11 0290 yesterday's new British import at the Apollo.
C11 0300 Since an objective viewer might well conclude that this is not a situation
C11 0310 that would often arise, the film's extensive discussion of the
C11 0320 problem seems, at best, superfluous. In its present artless, low-budget
C11 0330 form, the subject matter seems designed to invite censorial wrath.
C11 0340    With Julie London enacting the central role with husky-voiced
C11 0360 sincerity, the longsuffering heroine is at least attractive. The explanation
C11 0370 offered for her conduct is a misguided attempt to save her marriage
C11 0380 to a neurotic husband left sterile as a result of an automobile
C11 0390 accident.   Anthony Steel, as the husband, is a jealous type
C11 0400 who argues against her course and sues for divorce, labeling her action
C11 0410 adulterous. The actor plays his role glumly under the lurid direction
C11 0420 of Don Chaffey, as do Basil Sydney as his unsympathetic father
C11 0430 and Anton Diffring as an innocent bystander.   After a protracted,
C11 0440 hysterical trial scene more notable for the frankness of its language
C11 0450 than for dramatic credibility, the jury, to no one's surprise,
C11 0460 leaves the legal question unresolved. When the husband drops the case
C11 0470 and returns to his wife, both seem sorry they brought the matter up in
C11 0480 the first place. So was the audience.
C11 0490 _LONDON, JULY 4_- For its final change of bill in its London season,
C11 0500 the Leningrad State Kirov Ballet chose tonight to give one
C11 0510 of those choreographic miscellanies known as a "gala program" at the
C11 0520 Royal Opera House, Covent Garden. No doubt the underlying idea
C11 0530 was to show that for all the elegance and artistry that have distinguished
C11 0540 its presentations thus far, it too could give a circus if it pleased.
C11 0550    And please it did, in every sense of the word, for it had
C11 0560 the audience shouting much of the time in a manner far from typical
C11 0570 of London audiences. At the end of the program, indeed, there was a
C11 0580 demonstration that lasted for forty-five minutes, and nothing could stop
C11 0590 it. Alexandre Livshitz repeated a fantastic
C11 0600 technical bit from the closing number, "Taras Bulba", but even
C11 0610 then there was a substantial number of diehards who seemed determined
C11 0620 not to go home at all. Only a plea from the house manager, John Collins,
C11 0630 finally broke up the party. #@# But for all the manifest
C11 0640 intention to "show off", this was a circus with a difference, for
C11 0650 instead of descending in quality to what is known as a popular level,
C11 0660 it added further to the evidence that this is a very great dancing company.
C11 0670    The "Taras Bulba" excerpt is a rousing version of
C11 0680 Gogol's Ukrainian folk-tale choreographed by Bo Fenster to music
C11 0690 of Soloviev-Sedoi. It is danced by some thirty-five men and no women,
C11 0700 and it contains everything in the books- lusty comedy, gregarious
C11 0710 cavorting, and tricks that only madmen or Russians would attempt
C11 0720 to make the human body perform. Yuri Soloviev, Oleg Sokolov, Alexei
C11 0730 Zhitkov, Lev Sokolov, Yuri Korneyev and Mr& Livshitz were the
C11 0740 chief soloists, but everybody on stage was magnificent. #@# At
C11 0750 the other extreme in character was the half-hour excerpt from the Petipa-Minkus
C11 0760 ballet "Bayaderka", which opened the evening. What
C11 0770 a man this Petipa was! And why do we in the West know so few of
C11 0780 his ballets? This scene is a "white ballet" in which a lovelorn
C11 0790 hero searches for his departed love's spirit among twenty-eight extraordinarily
C11 0800 beautiful "shadows" who can all dance like nothing human-
C11 0810 which, of course, is altogether fitting. The ensemble enters
C11 0820 in a long adagio passage that is of fantastic difficulty, as well as loveliness,
C11 0830 and adagio is the general medium of the piece. #@# Its
C11 0840 ballerina, Olga Moiseyeva, performs simple miracles of beauty, and
C11 0850 Ludmilla Alexeyeva, Inna Korneyeva and Gabrielle Komleva make
C11 0860 up a threesome of exquisite accomplishments. Sergei Vikulov, as the
C11 0870 lone male, meets the competition well with some brilliant hits, but the
C11 0880 work is designed to belong to the ladies.   The middle section
C11 0890 of the program was made up of short numbers, naturally enough of unequal
C11 0900 merit, but all of them pretty good at that. They consisted of a new
C11 0910 arrangement of "Nutcracker" excerpts danced stunningly by Irina
C11 0920 Kolpakova and Mr& Sokolev, with a large ensemble; a winning
C11 0930 little "Snow Maiden" variation by the adorable Galina Kekisheva;
C11 0940 two of those poetic adagios in Greek veils (and superb esthetic
C11 0950 acrobacy) by Alla Osipenko and Igor Chernishev in one case and Inna
C11 0960 Zubkovskaya and Yuri Kornevey in the other; an amusing character
C11 0970 pas de cinq called "Gossiping Women"; a stirring "Flames
C11 0980 of Paris" pas de deux by Xenia Ter-Stepanova and Alexandre Pavlovsky,
C11 0990 and a lovely version of Fokine's "Le Cygne" by Olga
C11 1000 Moiseyeva, which had to be repeated.   Vadim Kalentiev was the
C11 1010 conductor.   It was quite an evening!
C11 1020    A YEAR ago today, when the Democrats were fretting and frolicking
C11 1030 in Los Angeles and John F& Kennedy was still only an
C11 1040 able and ambitious Senator who yearned for the power and responsibility
C11 1050 of the Presidency, Theodore H& White had already compiled masses
C11 1060 of notes about the Presidential campaign of 1960.   As the
C11 1070 pace of the quadrennial American political festival accelerated, Mr&
C11 1080 White took more notes. He traveled alternately with Mr& Kennedy
C11 1090 and with Richard M& Nixon.   He asked intimate questions
C11 1100 and got frank answers from the members of what he calls the candidates'
C11 1110 "in-groups". He assembled quantities of facts about the nature
C11 1120 of American politics in general, as well as about the day-to-day course
C11 1130 of the closest Presidential election in American history.
C11 1140    Those of us who read the papers may think we know a good deal about
C11 1150 that election; how little we know of what there is to be known is
C11 1160 made humiliatingly clear by Mr& White in "The Making of the President
C11 1170 1960".   This is a remarkable book and an astonishingly
C11 1180 interesting one. What might have been only warmed-over topical journalism
C11 1190 turns out to be an eyewitness contribution to history. Mr&
C11 1200 White, who is only a competent novelist, is a brilliant reporter. His
C11 1210 zest for specific detail, his sensitivity to emotional atmosphere,
C11 1220 his tireless industry and his crisply turned prose all contribute to the
C11 1230 effectiveness of his book. #A LESSON IN POLITICS# As a dramatic
C11 1240 narrative "The Making of the President 1960" is continuously
C11 1250 engrossing. And as an introduction to American politics it is highly
C11 1260 educational.
C11 1270    The author begins this volume with a close-up of Mr&
C11 1280 Kennedy, his family and his entourage waiting for the returns.
C11 1290 He then switches back to a consideration of the seven principal Presidential
C11 1300 hopefuls: five Democrats- Senator Hubert H& Humphrey,
C11 1310 Senator Stuart Symington, Senator Lyndon B& Johnson, Adlai
C11 1320 E& Stevenson and Mr& Kennedy- and two Republicans- Governor
C11 1330 Rockefeller and Mr& Nixon.   Then, in chronological
C11 1340 order, Mr& White covers the primary campaigns, the conventions and
C11 1350 the Presidential campaign itself. In the process he writes at length
C11 1360 about many related matters: the importance of race, religion, local
C11 1370 tradition, bosses, organizations, zealous volunteers and television.
C11 1380 Mr& White is bluntly frank in his personal opinions. He frequently
C11 1390 cites intimate details that seem to come straight from the horse's
C11 1400 mouth, from numerous insiders and from Mr& Kennedy himself; but
C11 1410 never from Mr& Nixon, who looked on reporters with suspicion and
C11 1420 distrust.   "Rarely in American history has there been a political
C11 1430 campaign that discussed issues less or clarified them less",
C11 1440 says Mr& White. Mr& Nixon, he believes, has no particular political
C11 1450 philosophy and mismanaged his own campaign. Although a skillful
C11 1460 politician and a courageous and honest man, Mr& Nixon, Mr& White
C11 1470 believes, ignored his own top-level planners, wasted time and effort
C11 1480 in the wrong regions, missed opportunities through indecision and
C11 1490 damaged his chances on television.   Mr& Nixon is "a broody,
C11 1500 moody man, given to long stretches of introspection; he trusts only
C11 1510 himself and his wife. **h He is a man of major talent- but a man
C11 1520 of solitary, uncertain impulses. **h He was above all a friend seeker,
C11 1530 almost pathetic in his eagerness to be liked. He wanted to identify
C11 1540 with people and have a connection with them; **h the least inspiring
C11 1550 candidate since Alfred M& Landon".   Mr& Kennedy,
C11 1560 Mr& White believes, "had mastered politics on so many different
C11 1570 levels that no other
C11 1580 American could match him". Calm, dignified, composed,
C11 1590 "superbly eloquent", Mr& Kennedy always knew everything
C11 1600 about everybody. He enlisted a staff of loyal experts and of many zealous
C11 1610 volunteers. Every decision was made quickly on sound grounds.
C11 1620 Efficiency was enforced and nothing was left to chance. Mr& Kennedy
C11 1630 did not neglect to cultivate the personal friendship of reporters.
C11 1640 Mr& White admires him profoundly and leaves no doubt that he is a
C11 1650 Democrat himself who expects Mr& Kennedy to be a fine President.
C11 1660 #PRESSURES PORTRAYED# Throughout "The Making of a President"
C11 1670 Mr& White shows wonderfully well how the pressures pile up on
C11 1680 candidates, how decisions have constantly to be made, how fatigue and
C11 1690 illness and nervous strain wear candidates down, how subordinates play
C11 1700 key roles. And he makes many interesting comments. Here are several:
C11 1710    "The root question in American politics is always:
C11 1720 Who's the Man to See? To understand American politics is, simply,
C11 1730 to know people, to know the relative weight of names- who are
C11 1740 heroes, who are straw men, who controls, who does not. But to operate
C11 1750 in American politics one must go a step further- one must build a
C11 1760 bridge to such names, establish a warmth, a personal connection".
C11 1770    "In the hard life of politics it is well known that no platform
C11 1780 nor any program advanced by either major American party has any purpose
C11 1790 beyond expressing emotion".   "All platforms are meaningless:
C11 1800 the program of either party is what lies in the vision and conscience
C11 1810 of the candidate the party chooses to lead it".
C11 1820    NOSTALGIA WEEK at Lewisohn Stadium, which had begun with
C11 1830 the appearance of the 70-year-old Mischa Elman on Tuesday night,
C11 1840 continued last night as Lily Pons led the list of celebrities in an
C11 1850 evening of French operatic excerpts.   Miss Pons is certainly
C11 1860 not
C11 1870 70-no singer ever is- and yet the rewards of the evening again
C11 1880 lay more in paying tribute to a great figure of times gone by than in
C11 1890 present accomplishments. The better part of gallantry might be, perhaps,
C11 1900 to honor her perennial good looks and her gorgeous rainbow-hued gown,
C11 1910 and to chide the orchestra for not playing in the same keys in which
C11 1920 she had chosen to sing.   No orchestra, however, could be expected
C11 1930 to follow a singer through quite as many adventures with pitch as
C11 1940 Miss Pons encountered last night. In all fairness, there were flashes
C11 1950 of the great stylist of yesteryear, flashes even of the old consummate
C11 1960 vocalism. #@# One such moment came in the breathtaking way
C11 1970 Miss Pons sang the cadenza to Meyerbeer's "Shadow Song".
C11 1980 The years suddenly fell away at this point. On the whole, however, one
C11 1990 must wonder at just what it is that forces a beloved artist to besmirch
C11 2000 her own reputation as time marches inexorably on.   Sharing
C11 2010 the program was the young French-Canadian tenor Richard Verreau,
C11 2020 making his stadium debut on this occasion. Mr& Verreau began shakily,
C11 2030 with a voice that tended toward an unpleasant whiteness when pushed
C11 2040 beyond middle volume. Later on this problem vanished, and the "Flower
C11 2050 Song" from Bizet's "Carmen" was beautifully and intelligently
C11 2060 projected.
C12 0010    Radio is easily outdistancing television in its strides to reach
C12 0020 the minority listener. Lower costs and a larger number of stations
C12 0030 are the key factors making such specialization possible.   The
C12 0040 mushrooming of ~FM outlets, offering concerts (both jazz and classical),
C12 0050 lectures, and other special events, is a phenomenon which has had
C12 0060 a fair amount of publicity.   Not so well known is the growth
C12 0070 of broadcasting operations aimed wholly or partly at Negro listeners-
C12 0080 an audience which, in the United States, comprises some 19,000,000
C12 0090 people with $20,000,000,000 to spend each year.   Of course,
C12 0100 the nonwhite listener does his share of television watching. He even
C12 0110 buys a lot of the products he sees advertised- despite the fact that
C12 0120 the copy makes no special bid for his favor and sponsors rarely use any
C12 0130 but white models in commercials.   But the growing number of
C12 0140 Negro-appeal radio stations, plus evidence of strong listener support
C12 0150 of their advertisers, give time salesmen an impressive argument as they
C12 0160 approach new prospects. It is estimated that more than 600 stations
C12 0170 (of a total of 3,400) do a significant amount of programing for the
C12 0180 Negro. At least 60 stations devote all of their time to reaching this
C12 0190 audience in about half of the 50 states.   These and other figures
C12 0200 and comments have been reported in a special supplement of Sponsor
C12 0210 magazine, a trade publication for radio and ~TV advertisers. For
C12 0220 10 years Sponsor has issued an annual survey of the size and characteristics
C12 0230 of the Negro market and of successful techniques for reaching
C12 0240 this market through radio.   In the past 10 years, Sponsor
C12 0250 observes, these trends have become apparent: _@_ Negro population
C12 0260 in the U&S& has increased 25 per cent while the white population
C12 0270 was growing by 18 per cent. "The forgotten 15 million"- as
C12 0280 Sponsor tagged the Negro market in its first survey- has become
C12 0290 a better-remembered 19 million. _@_ Advertisers are changing their
C12 0300 attitudes, both as to the significance of this market and the ways
C12 0310 of speaking to it. _@_ Stations programing to Negro listeners
C12 0320 are having to upgrade their shows in order to keep pace with rising educational,
C12 0330 economic, and cultural levels. Futhermore, the station which
C12 0340 wants real prestige must lead or participate in community improvement
C12 0350 projects, not simply serve on the air.   In the last decade
C12 0360 the number of Negro-appeal radio program hours has risen at least 15
C12 0370 per cent, and the number of Negro-appeal stations has increased 30 per
C12 0380 cent, according to a research man quoted by Sponsor.   A year
C12 0390 ago the Negro Radio Association was formed to spur research which
C12 0400 the 30-odd member stations are sure will bring in more business.
C12 0410    The 1960 census underscored the explosive character of the population
C12 0420 growth. It also brought home proof of something a casual observer
C12 0430 might have missed: that more than half of the U&S& Negroes live
C12 0440 outside the southeastern states. Also, the state with the largest
C12 0450 number of Negroes is New York- not in the South at all.
C12 0460 In New York City, ~WLIB boasts "more community service programs
C12 0470 than any other Negro station" and "one of the largest Negro
C12 0480 news staffs in America". And ~WWRL's colorful mobile unit,
C12 0490 cruising predominately Negro neighborhoods, is a frequent reminder
C12 0500 of that station's round-the-clock dedication to nonwhite interests.
C12 0510 Recently, ~WWRL won praise for its expose of particular cases
C12 0520 of employment agency deceit. A half-dozen other stations in the New
C12 0530 York area also bid for attention of the city's Negro population,
C12 0540 up about 50 per cent in the past decade.   In all big cities outside
C12 0550 the South, and even in small towns within the South, radio stations
C12 0560 can be found beaming some or all of their programs at Negro listeners.
C12 0570 The Keystone Broadcasting System's Negro network includes
C12 0580 360 affiliated stations, whose signals reach more than half the total
C12 0590 U&S& Negro population.   One question which inevitably
C12 0600 crops up is whether such stations have a future in a nation where the
C12 0610 Negro is moving into a fully integrated status.   Whatever the
C12 0620 long-range impact of integration, the owners of Negro-appeal radio stations
C12 0630 these days know they have an audience and that it is loyal. Advertisers
C12 0640 have discovered the tendency of Negroes to shop for brand names
C12 0650 they have heard on stations catering to their special interests.
C12 0660 And many advertisers have been happy with the results of letting a Negro
C12 0670 disc jockey phrase the commercial in his own words, working only
C12 0680 from a fact sheet.   What sets Negro-appeal programing apart from
C12 0690 other radio shows? Sponsor magazine notes the stress on popular
C12 0700 Negro bands and singers; rhythm-and-blues mood music; "race"
C12 0710 music, folk songs and melodies, and gospel programs. Furthermore, news
C12 0720 and special presentations inform the listener about groups, projects,
C12 0730 and personalities rarely mentioned on a general-appeal station. Advertising
C12 0740 copy frequently takes into account matters of special Negro
C12 0750 concern.   Sponsor quotes John McLendon of the McLendon-Ebony
C12 0760 station group as saying that the Southern Negro is becoming conscious
C12 0770 of quality and and "does not wish to be associated with radio
C12 0780 which is any way degrading to his race; he tends to shy away from the
C12 0790 hooting and hollering personalities that originally made Negro radio
C12 0800 programs famous".   The sociological impact is perhaps most
C12 0810 eloquently summed up in this quotation of J& Walter Carroll of ~KSAN,
C12 0820 San Francisco:   "Negro-appeal radio is more important
C12 0830 to the Negro today, because it provides a direct and powerful
C12 0840 mirror in which the Negro can hear and see his ambitions, achievements
C12 0850 and desires. It will continue to be important as a means of orientation
C12 0860 to the Negro, seeking to become urbanized, as he tries to make
C12 0870 adjustment to the urban life. Negro radio is vitally necessary during
C12 0880 the process of assimilation".
C12 0890    Presentation of "The Life and Times of John Sloan" in
C12 0900 the Delaware Art Center here suggests a current nostalgia for human
C12 0910 values in art.   Staged by way of announcing the gift of a large
C12 0920 and intimate Sloan collection by the artist's widow, Helen Farr
C12 0930 Sloan, to the Wilmington Society of the Fine Arts, the exhibition
C12 0940 presents a survey of Sloan's work. From early family portraits,
C12 0950 painted before he entered the schools of the Pennsylvania Academy of
C12 0960 the Fine Arts, the chronology extends to a group of paintings executed
C12 0970 in his last year (1951) and still part of his estate.   Few
C12 0980 artists have left a life work so eloquent of the period in which they
C12 0990 lived. Few who have painted the scenes around them have done so with
C12 1000 so little bitterness. The paintings, drawings, prints, and illustrations
C12 1010 all reflect the manners, costumes, and mores of America in the first
C12 1020 half of the present century.   Obviously Sloan's early years
C12 1030 were influenced by his close friend Robert Henri. As early as
C12 1040 1928, however, the Sloan style began to change. The dark pigments of
C12 1050 the early work were superseded by a brighter palette. The solidity of
C12 1060 brush stroke yielded to a hatching technique that finally led to virtual
C12 1070 abandonment of American genres in favor of single figure studies
C12 1080 and studio nudes.   The exhibition presents all phases of Sloan's
C12 1090 many-sided art. In addition to the paintings are drawings, prints,
C12 1100 and illustrations. Sloan created such works for newspaper supplements
C12 1110 before syndication threw him out of a job and sent him to roam the
C12 1120 streets of New York, thereby building for America an incomparable
C12 1130 city survey from paintings of McSorley's Saloon to breezy clotheslines
C12 1140 on city roofs.   One of the most appealing of the rooftop
C12 1150 canvases is "Sun and Wind on the Roof", with a woman and child
C12 1160 bracing themselves against flapping clothes and flying birds. Although
C12 1170 there are landscapes in the show (one of the strongest is a vista of
C12 1180 "Gloucester Harbor" in 1915), the human element was the compelling
C12 1190 factor in Sloan's art.   Significant are such canvases as
C12 1200 "Bleeker Street, Saturday Night", with its typically American
C12 1210 crowd (Sloan never went abroad); the multifigure "Traveling Carnival",
C12 1220 in which action is vivified by lighting; or "Carmine
C12 1230 Theater, 1912", the only canvas with an ash can (and foraging dog),
C12 1240 although Sloan was a member of the famous "Eight", and of the
C12 1250 so-called "Ash-Can School", a term he resented.   Not all
C12 1260 the paintings, however, are of cities. The exhibition touches briefly
C12 1270 on his sojourn in the Southwest ("Koshare in the Dust", a vigorous
C12 1280 Indian dance, and landscapes suggest the influence of western
C12 1290 color on his palette).   The fact that Sloan was an extrovert,
C12 1300 concerned primarily with what he saw, adds greatly to the value of his
C12 1310 art as a human chronicle.   There are 151 items in the Wilmington
C12 1320 show, including one painting by each member of the "Eight",
C12 1330 as well as work by Sloan's friends and students. Supplementing the
C12 1340 actual art are memorabilia- correspondence, diaries, books from the
C12 1350 artist's library, etc&. All belong to the collection being given
C12 1360 to Wilmington over a period of years by Mrs& Sloan, who has cherished
C12 1370 such revelatory items ever since she first studied with Sloan at
C12 1380 the Art Students League, New York, in the 1920's.   To
C12 1390 enable students and the public to spot Sloan forgeries, the Delaware
C12 1400 Art Center (according to its director, Bruce St& John) will maintain
C12 1410 a complete file of photographs of all Sloan works, as well as
C12 1420 a card index file. The entire Sloan collection will be made available
C12 1430 at the center to all serious art students and historians.   The
C12 1440 current exhibition, which remains on view through Oct& 29, has tapped
C12 1450 14 major collections and many private sources.
C12 1460    Any musician playing Beethoven here, where Beethoven was born,
C12 1470 is likely to examine his own interpretations with special care. In
C12 1480 a sense, he is offering Bonn what its famous son (who left as a youth)
C12 1490 never did- the sound of the composer's mature style.   Robert
C12 1500 Riefling, who gave the only piano recital of the recently concluded
C12 1510 23rd Beethoven Festival, penetrated deep into the spirit of the
C12 1515 style.
C12 1520 His readings were careful without being fussy, and they were authoritative
C12 1530 without being presumptuous. The 32 ~C minor Variations
C12 1540 with which he opened moved fluently yet logically from one to another,
C12 1550 leaving the right impression of abundance under discipline.
C12 1560 The ~D minor Sonata, Op& 31 No& 2, introduced by dynamically
C12 1570 shaped arpeggios, was most engaging in its moments of quasi-recitative-
C12 1580 single lines in which the fingers seemed to be feeling their way
C12 1590 toward the idea to come. These inwardly dramatic moments showed the
C12 1600 kind of "opera style" of which Beethoven was genuinely capable,
C12 1610 but which did not take so kindly to the mechanics of staging.
C12 1620 Two late Sonatas, Op& 110 and 111, were played with similar insight,
C12 1630 the disarming simplicities of the Op& 111 Adagio made plain without
C12 1640 ever becoming obvious. The two were separated from each other by
C12 1650 the Six Bagatelles of Op& 126. Herr Riefling, in everything he
C12 1660 gave his large Beethoven Hall audience, proved himself as an interpreter
C12 1670 of unobtrusive authority.   Volker Wangenheim, who conducted
C12 1675 Bonn's Sta^dtisches
C12 1680 Orchester on the following evening, made
C12 1690 one more conscious of the process of interpretation. Herr Wangenheim
C12 1700 has only recently become the city's music director, and is a young
C12 1710 man with a clear flair for the podium.   But he weighted the Eighth
C12 1720 Symphony, at times, with a shuddering subjectivity which seemed
C12 1730 considerably at odds with the music. He might have been hoping, to all
C12 1740 appearances, that this relatively sunny symphony, in conjunction
C12 1750 with the Choral Fantasy at the end of the program, could amount
C12 1760 to something like the Ninth; but no amount of head-tossing could
C12 1770 make it so.   The conductor's preoccupation with the business
C12 1780 of starting and stopping caused occasional raggedness, as with the first
C12 1790 orchestra entrance in the Fourth Piano Concerto, but when he put
C12 1800 his deliberations and obsequies aside and let the music move as designed,
C12 1810 it did so with plenty of spring.   The concerto's soloist,
C12 1820 Hans Richter-Haaser, played with compensatory ease and economy, though
C12 1830 without the consummate plasticity to which we had been treated on
C12 1840 the previous evening by Herr Riefling. His was a burgomaster's
C12 1850 Beethoven, solid and sensible.   Everybody returned after intermission
C12 1860 for the miscellaneous sweepings of the Fantasy for Piano, Chorus,
C12 1870 and Orchestra in ~C minor, made up by its composer to fill
C12 1880 out one of his programs. The entrance of the Sta^dtisches Gesangverein
C12 1890 (Bonn's civic chorus) was worth all the waiting, however, as the
C12 1900 young Rhenish voices finally brought the music to life.   The
C12 1910 last program of this festival, which during two weeks had sampled most
C12 1920 compositional categories, brought the Cologne Rundfunk-Sinfonie-Orchester
C12 1930 and Rundfunkchor to Bonn's gold-filled hall for a performance
C12 1940 of the Missa Solemnis.
C13 0010    A tribe in ancient India believed the earth was a huge tea tray
C13 0020 resting on the backs of three giant elephants, which in turn stood
C13 0030 on the shell of a great tortoise. This theory eventually proved inexact.
C13 0040 But the primitive method of explaining the unknown with what is known
C13 0050 bears at least a symbolic resemblance to the methods of modern science.
C13 0060    It is the business of cosmologists, the scientists who
C13 0070 study the nature and structure of the universe, to try to solve the great
C13 0080 cosmic mysteries by using keys that have clicked open other doors.
C13 0090 These keys are the working principles of physics, mathematics and astronomy,
C13 0100 principles which are then extrapolated, or projected, to explain
C13 0110 phenomena of which we have little or no direct knowledge.   In
C13 0120 the autumn of 1959, the British Broadcasting Corporation presented
C13 0130 a series of talks by four scientists competent in cosmology. Three
C13 0140 of these men discussed major theories of the universe while the other
C13 0150 acted as a moderator. The participants were Professor H& Bondi,
C13 0160 professor of mathematics at King's College, London; Dr& W&
C13 0170 B& Bonnor, reader in mathematics at Queen Elizabeth College,
C13 0180 London; Dr& R& A& Lyttleton, a lecturer at St& John's
C13 0190 College, Cambridge, and a reader in theoretical astronomy at the
C13 0200 University of Cambridge; and Dr& G& J& Whitrow, reader
C13 0210 in applied mathematics at the Imperial College of Science and Technology,
C13 0220 London.   Dr& Whitrow functioned as moderator. The
C13 0230 programs were so well received by the British public that the arguments
C13 0240 have been published in a totally engrossing little book called, "Rival
C13 0250 Theories of Cosmology".   Dr& Bonnor begins with
C13 0260 a discussion of the relativistic theories of the universe, based on
C13 0270 the general theory of relativity. First of all, and this has been calculated
C13 0280 by observation, the universe is expanding- that is, the galaxies
C13 0290 are receding from each other at immense speeds. Because of this
C13 0300 Dr& Bonnor holds that the universe is becoming more thinly populated
C13 0310 by stars and whatever else is there. This expansion has been going
C13 0320 on for an estimated eight billion years. #EXPANDS AND CONTRACTS#
C13 0330 Dr& Bonnor supports the idea that the universe both expands and contracts,
C13 0340 that in several billion years the expansion will slow up and
C13 0350 reverse itself and that the contraction will set in. Then, after many
C13 0360 more billions of years, when all the galaxies are whistling toward a
C13 0370 common center, this movement will slow down and reverse itself again.
C13 0380    Professor Bondi disagrees with the expansion-contraction theory.
C13 0390 He supports the steady-state theory which holds that matter is continually
C13 0400 being created in space. For this reason, he says, the density
C13 0410 of the universe always remains the same even though the galaxies are
C13 0420 zooming away in all directions. New galaxies are forever being formed
C13 0430 to fill in the gaps left by the receding galaxies.   If this
C13 0440 is true, then the universe today looks just as it did millions of years
C13 0450 ago and as it will look millions of years hence, even though the universe
C13 0460 is expanding. For new galaxies to be created, Professor Bondi
C13 0470 declares, it would only be necessary for a single hydrogen atom to be
C13 0480 created in an area the size of your living room once every few million
C13 0490 years. He contends this idea doesn't conflict with experiments on
C13 0500 which the principle of conservation of matter and energy is based because
C13 0510 some slight error must be assumed in such experiments.   Dr&
C13 0520 Lyttleton backs the theory that we live in an electric universe
C13 0530 and this theory starts with the behavior of protons and electrons. Protons
C13 0540 and electrons bear opposite electrical charges which make them attract
C13 0550 each other, and when they are joined they make up an atom of hydrogen-
C13 0560 the basic building block of matter. The charges of the electron
C13 0570 and proton are believed to be exactly equal and opposite, but Dr&
C13 0580 Lyttleton is not so sure. Suppose, says Dr& Lyttleton, the proton
C13 0590 has a slightly greater charge than the electron (so slight it is
C13 0610 presently immeasurable). This would give the hydrogen atom a slight
C13 0615 charge-excess.
C13 0620    Now if one hydrogen atom were placed at the surface
C13 0630 of a large sphere of hydrogen atoms, it would be subject both to the
C13 0640 gravitation of the sphere and the charge-excess of all those atoms
C13 0650 in the sphere. Because electrical forces (the charge-excess) are far
C13 0660 more powerful than gravitation, the surface hydrogen atoms would shoot
C13 0670 away from the sphere.   Dr& Lyttleton then imagines the universe
C13 0680 as a large hydrogen sphere with surface atoms shooting away from
C13 0690 it. This, he claims, would reasonably account for the expansion of the
C13 0700 universe. #FLEETING GLIMPSE# This slim book, while giving the
C13 0710 reader only a fleeting glimpse of the scientific mind confronting the
C13 0720 universe, has the appeal that informed conversation always has. Several
C13 0730 photographs and charts of galaxies help the non-scientist keep up with
C13 0740 the discussion, and the smooth language indicates the contributors
C13 0750 were determined to avoid the jargon that seems to work its way into almost
C13 0760 every field.   It is clear from this discussion that cosmologists
C13 0770 of every persuasion look hopefully toward the day when a man-made
C13 0780 satellite can be equipped with optical devices which will open up
C13 0790 new vistas to science. Presently, the intense absorption of ultra-violet
C13 0800 rays in the earth's atmosphere seriously hinders ground observation.
C13 0810 These scientists are convinced that a telescope unclouded by the
C13 0820 earth's gases will go a long way toward bolstering or destroying cosmic
C13 0830 theories.   There would seem to be some small solace in
C13 0840 the prospect that the missile race between nations is at the same time
C13 0850 accelerating the study of the space around us, giving us a long-sought
C13 0860 ladder from which to peer at alien regions.   In doing away with
C13 0870 the tea tray, the elephants and the giant tortoise, science has developed
C13 0880 a series of rationally defensible explanations of the cosmos.
C13 0890 And although the universe may forever defy understanding, it might even
C13 0900 now be finding its match in the imagination of man.
C13 0910 "Roots", the new play at the brand-new Mayfair Theater on 46th
C13 0920 St&
C13 0930 which has been made over from a night club, is about the intellectual
C13 0940 and spiritual awakening of an English farm girl. Highly successful
C13 0950 in England before its transfer to New York, most of "Roots" is
C13 0960 as relentlessly dour as the trappings of the small new theater are
C13 0970 gaudy.   Only in its final scene, where Beatie Bryant (Mary
C13 0980 Doyle) shakes off the disappointment of being jilted by her intellectual
C13 0990 lover and proclaims her emancipation do we get much which makes worthwhile
C13 1000 the series of boorish rustic happenings we have had to watch
C13 1010 for most of the first two and one-half acts.   The burden of Mr&
C13 1020 Wesker's message is that people living close to the soil (at least
C13 1030 in England) are not the happy, fine, strong, natural, earthy people
C13 1040 city-bred intellectuals imagine. Rather they are genuine clods, proud
C13 1050 of their cloddishness and openly antagonistic to the illuminating
C13 1060 influences of aesthetics or thought. They care no more for politics,
C13 1070 says Mr& Wesker, than they do for a symphony. Seeming to have roots
C13 1080 in the soil, they actually have none in life. They dwell, in short,
C13 1090 in the doltish twilight in which peasants and serfs of the past are
C13 1100 commonly reported to have lived.   But this is a theme which does
C13 1110 not take so much time to state as Mr& Wesker dedicates to it. So
C13 1120 much untidiness of mind and household does not attract the interest
C13 1130 of the theatergoer (unless he has been living in a gilded palace, perhaps,
C13 1140 and wants a real big heap of contrast). The messy meals, the washing
C13 1150 of dishes, the drying of clothes may be realism, but there is such
C13 1160 a thing as redundancy.   Now for the good points. Miss Doyle
C13 1170 as Beatie has a great fund of animal spirits, a strong voice and a
C13 1180 warm smile. She is just home from a sojourn in London where she has
C13 1190 become the sweetheart of a young fellow named Ronnie (we never do
C13 1200 see him) and has been subjected to a first course in thinking and appreciating,
C13 1210 including a dose of good British socialism. But while she
C13 1220 is able to tell her retarded family about the new world she has seen open
C13 1230 before her, Ronnie has not been able to observe her progress, and
C13 1240 instead of appearing at a family party to be looked over like a new bull,
C13 1250 he sends Beatie a letter of dismissal.   Beatie, getting
C13 1260 no sympathy for her misfortune, soon rallies and finds that although she
C13 1270 has lost a lover she has gained her freedom. Despite a too long sustained
C13 1280 declamatory flight, this final speech is convincing, and we see
C13 1290 why British audiences apparently were impressed by "Roots".
C13 1300    There were several fairly good minor portraits in the play, including
C13 1310 William Hansen's impersonation of a stubborn, rather pathetic
C13 1320 father, and Katherine Squire's vigorous characterization of a farm
C13 1330 mother who brooked no hifalutin' nonsense from her daughter, or anyone
C13 1340 else. But I am afraid Mr& Wesker's meat and potatoes dish
C13 1350 isn't well seasoned enough for local audiences.
C13 1360    SHAKESPEARE had a word for everything, even for the rain
C13 1370 that disrupted Wednesday night's "Much Ado About Nothing" opening
C13 1380 the season of free theatre in Central Park.   The New
C13 1390 York Shakespeare Festival, which is using the Wollman Memorial Skating
C13 1400 Rink while its theatre near the Belvedere is being completed,
C13 1410 began bravely. Joseph Papp, impassioned founder of the festival and
C13 1420 director of "Much Ado", had a vibrant, colorful production under
C13 1430 way. Using a wide stage resourcefully he mingled music and dance with
C13 1440 Shakespeare's words in a spirited mixture.   The audience
C13 1450 filled all the seats inside the Wollman enclosure and overflowed onto
C13 1460 the lawns outside the fence. The barbed sallies of Beatrice and Benedick,
C13 1470 so contemporary to a public inured to the humor of insult, raised
C13 1480 chuckles. The simple-minded comedy of Dogberry and Verges, also
C13 1490 familiar in a day that responds easily to jokes skimmed off the top of
C13 1500 writers' heads, evoked laughter. The vivacity of the masquers'
C13 1510 party at Leonato's palace, with the Spanish motif in the music and
C13 1520 dancing in honor of the visiting Prince of Arragon, cast a spell of
C13 1530 delight. #@# As "Much Ado" turned serious while the insipid
C13 1540 Claudio rejected Hero at the altar, a sprinkle began to fall. At
C13 1550 first hardly a person in the audience moved, although some umbrellas
C13 1560 were opened. But the rain came more heavily, and men and women in
C13 1570 light summer clothes began to depart. The grieving Hero and her father,
C13 1580 Leonato, followed by the Friar, left the stage. A voice on the
C13 1590 loudspeaker system announced that if the rain let up the performance
C13 1600 would resume in ten minutes.   More than half the audience departed.
C13 1610 Some remained in the Wollman enclosure, fortified with raincoats
C13 1620 or with newspapers to cover their heads. Others huddled under the trees
C13 1630 outside the fence. Twenty minutes after the interruption, although
C13 1640 it was still raining, the play was resumed at the point in the fourth
C13 1650 act where it had been stopped.   Beatrice (Nan Martin) and
C13 1660 Benedick (J& D& Cannon) took their places on the stage. In their
C13 1670 very first speeches it was clear that Shakespeare, like a Nostradamus,
C13 1680 had foreseen this moment.   Said Benedick: "Lady Beatrice,
C13 1690 have you wept all this while"?   Replied Beatrice:
C13 1700 "Yea, and I will weep a while longer".   The heavens refused
C13 1710 to give up their weeping. The gallant company completed Act /4,
C13 1720 and got through part of Act /5,. But the final scenes could not
C13 1730 be played. If any among the hardy hundreds who sat in the downpour
C13 1740 are in doubt about how it comes out, let them take comfort. "Much
C13 1750 Ado" ends happily. #@# The Parks Department has done an admirable
C13 1760 job of preparing the Wollman Rink for Shakespeare. One could
C13 1770 hardly blame Newbold Morris, the Parks Commissioner, for devoting
C13 1780 so much grateful mention to the department's technicians who at short
C13 1790 notice provided the stage with its rising platforms, its balcony,
C13 1800 its generous wings and even its impressive trapdoors for the use of the
C13 1810 villains.   Eldon Elder, who designed the stage, also created
C13 1820 a gay, spacious set that blended attractively with the park background
C13 1830 and Shakespeare's lighthearted mood. Mr& Papp has directed a
C13 1840 performance that has verve and pace, although he has tolerated obvious
C13 1850 business to garner easy laughs where elegance and consistency of style
C13 1860 would be preferable.
C14 0010    Elisabeth Schwarzkopf sang so magnificently Saturday night at
C14 0020 Hunter College that it seems a pity to have to register any complaints.
C14 0030 Still a demurrer or two must be entered.   Schwarzkopf is,
C14 0040 of course, Schwarzkopf. For style and assurance, for a supreme and
C14 0050 regal bearing there is still no one who can touch her. If the voice
C14 0060 is just a shade less glorious than it used to be, it is still a beautiful
C14 0070 instrument, controlled and flexible. Put to the service of lieder
C14 0080 of Schubert, Brahms, Strauss and Wolf in a dramatical and musical
C14 0090 way, it made its effect with ease and precision.   But what has
C14 0100 been happening recently might be described as creeping mannerism. Instead
C14 0110 of her old confidence in the simplest, purest, most moving musical
C14 0120 expression, Miss Schwarzkopf is letting herself be tempted by the classic
C14 0130 sin of artistic pride- that subtle vanity that sometimes misleads
C14 0140 a great artist into thinking that he or she can somehow better the
C14 0150 music by bringing to it something extra, some personal dramatic touch
C14 0160 imposed from the outside.   The symptoms Saturday night were
C14 0170 unmistakable. Clever light songs were overly coy, tragic songs a little
C14 0180 too melodramatic. There was an extra pause here, a gasp or a sigh
C14 0190 there, here and there an extra little twist of a word or note, all in
C14 0200 the interest of effect. The result was like that of a beautiful painting
C14 0210 with some of the highlights touched up almost to the point of garishness.
C14 0220    There were stunning musical phrases too, and sometimes
C14 0230 the deepest kind of musical and poetic absorption and communication.
C14 0240 Miss Schwarzkopf and her excellent pianist, John Wustman, often achieved
C14 0250 the highest lyrical ideals of the lieder tradition. All the more
C14 0260 reason why there should have been no place for the frills; Miss
C14 0270 Schwarzkopf is too great an artist to need them.
C14 0280    THE dance, dancers and dance enthusiasts (8,500 of them)
C14 0290 had a much better time of it at Lewisohn Stadium on Saturday night
C14 0300 than all had had two nights earlier, when Stadium Concerts presented
C14 0310 the first of two dance programs.   On Saturday, the orchestra
C14 0320 was sensibly situated down on the field, the stage floor was apparently
C14 0330 in decent condition for dancing, and the order of the program improved.
C14 0340 #@# There was, additionally, a bonus for the Saturday-night
C14 0350 patrons. Alvin Ailey and Carmen De Lavallade appeared in the first
C14 0360 New York performance of Mr& Ailey's "Roots of the Blues",
C14 0370 a work given its premiere three weeks ago at the Boston Arts Festival.
C14 0380    Otherwise, the program included, as on Thursday, the
C14 0390 Taras-Tchaikovsky "Design for Strings", the Dollar-Britten
C14 0400 "Divertimento", the Dollar-De Banfield "The Duel" and
C14 0410 the pas de deux from "The Nutcracker".   Maria Tallchief
C14 0420 and Erik Bruhn, who danced the "Nutcracker" pas de deux, were
C14 0430 also seen in the Petipa-Minkus pas de deux from "Don Quixote",
C14 0440 another brilliant showpiece that displayed their technical prowess handsomely.
C14 0450    Among the other solo ballet dancers of the evening,
C14 0460 Elisabeth Carroll and Ivan Allen were particularly impressive in
C14 0470 their roles in "The Duel", a work that depends so much upon the
C14 0480 precision and incisiveness of the two principal combatants.   Mr&
C14 0490 Ailey's "Roots of the Blues", an earthy and very human modern
C14 0500 dance work, provided strong contrast to the ballet selections of
C14 0510 the evening. #@# As Brother John Sellers sang five "blues"
C14 0520 to the guitar and drum accompaniments of Bruce Langhorne and Shep
C14 0530 Shepard, Mr& Ailey and Miss De Lavallade went through volatile
C14 0540 dances that were by turns insinuating, threatening, contemptuous and
C14 0550 ecstatic.   Their props were two stepladders, a chair and a palm
C14 0560 fan. He wore the clothes of a laborer, and she was wondrously seductive
C14 0570 in a yellow and orange dress.   The cat-like sinuousness
C14 0580 and agility of both dancers were exploited in leaps, lifts, crawls and
C14 0590 slides that were almost invariably compelling in a work of strong, sometimes
C14 0600 almost frightening, tensions. "Roots of the Blues" may
C14 0610 not be for gentle souls, but others should welcome its super-charged impact.
C14 0630    "PERHAPS it is better to stay at home. The armchair traveler
C14 0640 preserves his illusions". This somewhat cynical comment may
C14 0650 be found in "Blue Skies, Brown Studies", a collection of travel
C14 0660 essays by William Sansom, who would never consider staying home for
C14 0670 long. Mr& Sansom is English, bearded, formidably cultivated, the
C14 0680 versatile author of numerous volumes of short stories, of novels and
C14 0690 of pieces that are neither short stories nor travel articles but something
C14 0700 midway between.   The only man alive who seems qualified by
C14 0710 his learning, his disposition and his addiction to a baroque luxuriance
C14 0720 of language to inherit the literary mantle of Sacheverell Sitwell,
C14 0730 Mr& Sansom writes of foreign parts with a dedication to decoration
C14 0740 worthy of a pastry chef creating a wedding cake for the marriage of
C14 0750 a Hungarian beauty (her third) and an American multimillionaire (his
C14 0760 fourth). The result is rather wonderful, but so rich as to be indigestible
C14 0770 if taken in too thick slices.   There are sixteen essays
C14 0780 in "Blue Skies, Brown Studies". Most of them were written between
C14 0790 1953 and 1960 and originally appeared in various magazines. All
C14 0800 are well written and are overwritten. But, even if Mr& Sansom labors
C14 0810 too hard to extract more refinements of meaning and feeling from
C14 0820 his travel experiences than the limits of language allow, he still can
C14 0830 charm and astound. Too many books and articles are just assembled by
C14 0840 putting one word after another. Mr& Sansom actually <writes> his
C14 0850 with a nice ear for a gracefully composed sentence, with an intense
C14 0860 relish in all the metaphorical resources of English, with a thick shower
C14 0870 of sophisticated, cultural references. #A CONTEMPLATIVE CONNOISSEUR#
C14 0880 "I like to sniff a place, and reproduce what it really smells
C14 0890 and looks like, its color, its particular kind of life". This is
C14 0900 an exact description of what Mr& Sansom does. He ignores guidebook
C14 0910 facts. He only rarely tells a personal anecdote and hardly ever sketches
C14 0920 an individual or quotes his opinions. It is an over-all impression
C14 0930 Mr& Sansom strives for, an impression compounded of visual details,
C14 0940 of a savory mixture of smells, of much loving attention to architecture
C14 0950 and scenery, of lights and shadows, of intangibles of atmosphere
C14 0960 and of echoes of the past.   William Sansom writes only about
C14 0970 Europe in this book and frequently of such familiar places as London,
C14 0980 Vienna, the French Riviera and the Norwegian fjords. But no
C14 0990 matter what he writes about he brings to his subject his own original
C14 1000 mind and his own sensitive reactions. "A writer lives, at best, in
C14 1010 a state of astonishment", he says. "Beneath any feeling he has of
C14 1020 the good or the evil of the world lies a deeper one of wonder at it
C14 1030 all. To transmit that feeling he writes". This may not be true of
C14 1040 many writers, but it certainly is true of Mr& Sansom. So in these
C14 1050 pages one can share his wonder at the traditional fiesta of St& Torpetius
C14 1060 that still persists in St& Tropez; at the sun and the
C14 1070 heat of Mediterranean lands, always much brighter and hotter to an Englishman
C14 1080 than to an American used to summers in New York or Kansas
C14 1090 City; at the supreme delights to be found in one of the world's
C14 1100 finest restaurants, La Bonne Auberge, which is situated on the seacoast
C14 1110 twenty miles west of the Nice airport; and at the infinite variety
C14 1120 of London.   Mr& Sansom can be eloquent in a spectacular
C14 1130 way which recalls (to those who recall easily) the statues of Bernini
C14 1140 and the gigantic paintings of Tintoretto. He can coin a neat phrase:
C14 1150 "a street spattered with an invigoration of people"; tulips
C14 1160 with "petals wide and shaggy as a spaniel's ears"; after a
C14 1170 snowstorm a landscape smelling "of woodsmoke and clarity". And, for
C14 1180 all his lacquered, almost Byzantine self-consciousness, he can make
C14 1190 one recognize the aptness of an unexpected comparison. #BEAUTY BORROWED
C14 1200 FROM AFAR# In one of his best essays Mr& Sansom expresses
C14 1210 his enthusiasm for the many country mansions designed by Andrea Palladio
C14 1220 himself that dot the environs of Vicenza. How far that pedimented
C14 1230 and pillared style has shed its influence Mr& Sansom reminds
C14 1240 us thus:   "The white colonnaded, cedar-roofed Southern mansion
C14 1250 is directly traceable via the grey and buff stone of grey-skied England
C14 1260 to the golden stucco of one particular part of the blue South,
C14 1270 the Palladian orbit stretching out from Vicenza: the old mind of
C14 1280 Andrea Palladio still smiles from behind many an old rocking chair
C14 1290 on a Southern porch, the deep friezes of his architectonic music rise
C14 1300 firm above the shallower freeze in the kitchen, his feeling for light
C14 1310 and shade brings a glitter from a tall mint julep, his sense of columns
C14 1320 framing the warm velvet night has brought together a million couple
C14 1330 of mating lips". Nice, even if a trifle gaudy.   "Blue Skies,
C14 1340 Brown Studies" is illustrated with numerous excellent photographs.
C14 1360    IN recent days there have been extensive lamentations over
C14 1370 the absence of original drama on television, but not for years have
C14 1380 many regretted the passing of new plays on radio. ~WBAI, the listener-supported
C14 1390 outlet on the frequency-modulation band, has decided
C14 1400 to do what it can to correct this aural void. Yesterday it offered
C14 1410 "Poised for Violence", by Jean Reavey.   ~WBAI is on
C14 1420 the right track: in the sound medium there has been excessive emphasis
C14 1430 on music and news and there could and should be a place for theatre,
C14 1440 as the Canadian and British Broadcasting Corporations continue
C14 1450 to demonstrate. Unfortunately, "Poised for Violence" was not
C14 1460 the happiest vehicle with which to make the point. #@# Mrs&
C14 1470 Reavey's work is written for the stage- it is mentioned for an off-Broadway
C14 1480 production in the fall- and, in addition, employs an avant-garde
C14 1490 structure that particularly needs to be seen if comprehension
C14 1500 is to be encouraged.   The play's device is to explore society's
C14 1510 obsession with disaster and violence through the eyes of a group
C14 1520 of artist's models who remain part of someone else's painting
C14 1530 rather than just be themselves. In a succession of scenes they appear
C14 1540 in different guises- patrons of a cafe, performers in a circus and
C14 1550 participants in a family picnic- but in each instance they inevitably
C14 1560 put ugliness before beauty. #@# Somewhere in Mrs& Reavey's
C14 1570 play there is both protest and aspiration of merit. But its relentless
C14 1580 discursiveness and determined complexity are so overwhelming that
C14 1590 after an hour and a half a listener's stamina begins to wilt. Moreover,
C14 1600 her central figures are so busily fulfilling their multitudinous
C14 1610 assignments that none emerges as an arresting individual in his own
C14 1620 right or as a provocative symbol of mankind's ills.   But quite
C14 1630 conceivably an altogether different impression will obtain when the
C14 1640 work is offered in the theatre and there can be other effects to relieve
C14 1650 the burden on the author's words. Which in itself is an immediate
C14 1660 reward of the ~WBAI experiment; good radio drama has its own
C14 1670 special demands that badly need reinvigoration.
C14 1680    A WEEKLY showcase for contemporary music, from the austere
C14 1690 archaism of Stravinsky to the bleeps and bloops of electronic music,
C14 1700 is celebrating its fourth anniversary this month.   Titled "What's
C14 1710 New in Music"? the enterprising program is heard Saturday
C14 1720 afternoons on radio station ~WQXR.   The brief notes
C14 1730 introducing each work offer salient historical or technical points, and
C14 1740 many listeners are probably grateful for being intelligently taken by
C14 1750 the hand through an often difficult maze. The show is programed and
C14 1760 written by the station's assistant continuity editor, Chuck Briefer.
C14 1770    The first Saturday in each month is set aside for new recordings.
C14 1780 Last Saturday's interesting melange included Ernst Toch,
C14 1790 Karlheinz Stockhausen, Richard Yardumian and a brief excerpt from
C14 1800 a new "space" opera by the Swedish composer, Karl-Birger Blomdahl.
C14 1810    Other Saturdays are devoted to studies of a selected American
C14 1820 composer, a particular type of music or the music of a given
C14 1830 country.   It is commendable that a regularly scheduled hour is
C14 1840 set aside for an introduction to the contemporary musical scene. But
C14 1850 one wishes, when the appetite is whetted, as it was in the case of
C14 1860 the all-too-brief excerpt from the Blomdahl opera, that further opportunity
C14 1870 would be provided both for hearing the works in their entirety
C14 1880 and for a closer analytical look at the sense and nature of the compositions.
C14 1900    THE Moiseyev Dance Company dropped in at Madison Square
C14 1910 Garden last night for the first of four farewell performances before
C14 1920 it brings its long American tour to a close.   It is not simply
C14 1930 giving a repetition of the program it gave during its New York
C14 1940 engagement earlier this season, but has brought back many of the numbers
C14 1950 that were on the bill when it paid us its first visit and won everybody's
C14 1960 heart.   It is good to see those numbers again. The "Suite
C14 1970 of Old Russian Dances" that opened that inaugural program
C14 1980 with the slow and modest entrance of the maidens and built steadily into
C14 1990 typical Moiseyev vigor and warmth; the amusing "Yurochka",
C14 2000 in which a hard-to-please young man is given his come-uppance; the
C14 2010 lovely (and of course vigorous) "Polyanka" or "The Meadow";
C14 2020 the three Moldavian dances entitled "Zhok"; the sweet and funny
C14 2030 little dance about potato planting called "Bul'ba"; and
C14 2040 the hilarious picture of social life in an earlier day called "City
C14 2050 Quadrille" are all just as good as one remembers them to have been,
C14 2060 and they are welcome back.
C14 2070    So, for that matter, are the newer
C14 2080 dances- the "Kalmuk Dance" with its animal movements, that genial
C14 2090 juggling act by Sergei Tsvetkov called "The Platter", the
C14 2100 rousing and beautiful betrothal celebration called "Summer", "The
C14 2110 Three Shepherds" of Azerbaijan hopping up on their staffs,
C14 2120 and, of course, the trenchant "Rock 'n' Roll".
C15 0010 As autumn starts its annual sweep, few Americans and Canadians realize
C15 0020 how fortunate they are in having the world's finest fall coloring.
C15 0030 Spectacular displays of this sort are relatively rare in the entire
C15 0040 land surface of the earth. The only other regions so blessed are the
C15 0050 British Isles, western Europe, eastern China, southern Chile and
C15 0060 parts of Japan, New Zealand and Tasmania. Their autumn tints are
C15 0070 all fairly low keyed compared with the fiery stabs of crimson, gold,
C15 0080 purple, bronze, blue and vermilion that flame up in North America.
C15 0090 Jack Frost is not really responsible for this great seasonal spectacle;
C15 0100 in fact, a freezing autumn dulls the blaze. The best effects come
C15 0110 from a combination of temperate climate and plenty of late-summer rain,
C15 0120 followed by sunny days and cool nights. Foliage pilgrimages, either
C15 0130 organized or individual, are becoming an autumn item for more and
C15 0140 more Americans each year. Below is a specific guide, keyed to the calendar.
C15 0150 #NATURE# _CANADA._ Late September finds Quebec's
C15 0160 color at its peak, especially in the Laurentian hills and in the area
C15 0170 south of the St& Lawrence River. In the Maritime provinces farther
C15 0180 east, the tones are a little quieter. Ontario's foliage is most
C15 0190 vivid from about Sept& 23 to Oct& 10, with both Muskoka (100
C15 0200 miles north of Toronto) and Haliburton (125 miles northwest of Toronto)
C15 0210 holding color cavalcades starting Sept& 23. In the Canadian
C15 0220 Rockies, great groves of aspen are already glinting gold. _NEW ENGLAND._
C15 0230 Vermont's sugar maples are scarlet from Sept& 25 to Oct&
C15 0240 15, and often hit a height in early October. New Hampshire figures
C15 0250 its peak around Columbus Day and boasts of all its hardwoods including
C15 0260 the yellow of the birches. The shades tend to be a little softer
C15 0270 in the forests that blanket so much of Maine. In western Massachusetts
C15 0280 and northwest Connecticut, the Berkshires are at their vibrant
C15 0290 prime the first week of October. #MIDDLE ATLANTIC STATES._ The
C15 0300 Adirondacks blaze brightest in early October, choice routes being
C15 0310 9~N from Saratoga up to Lake George and 73 and 86 in the Lake
C15 0320 Placid area. Farther south in New York there is a heavy haze of color
C15 0330 over the Catskills in mid-October, notably along routes 23 and 23~A.
C15 0340 About the same time the Alleghenies and Poconos in Pennsylvania
C15 0350 are magnificent- Renovo holds its annual Flaming Foliage Festival
C15 0360 on Oct& 14, 15. New Jersey's color varies from staccato
C15 0370 to pastel all the way from the Delaware Water Gap to Cape May. _SOUTHEAST._
C15 0380 During the first half of October the Blue Ridge and
C15 0390 other parts of the Appalachians provide a spectacle stretching from
C15 0400 Maryland and West Virginia to Georgia. The most brilliant displays
C15 0410 are along the Skyline Drive above Virginia's Shenandoah Valley
C15 0420 and throughout the Great Smokies between North Carolina and Tennessee.
C15 0430 _MIDWEST._ Michigan, Wisconsin and Minnesota have many
C15 0440 superb stretches of color which reach their height from the last few
C15 0450 days of September well into October, especially in their northern sections,
C15 0460 <e&g&>, Wisconsin's Vilas County whose Colorama
C15 0470 celebration
C15 0480 is Sept& 29-Oct& 8. In Wisconsin, take route 55 north
C15 0490 of Shawano or routes 78 and 60 from Portage to Prairie du Chien.
C15 0500 In Michigan, there is fine color on route 27 up to the Mackinac Straits,
C15 0510 while the views around Marquette and Iron Mountain in the
C15 0520 Upper Peninsula are spectacular. In Minnesota, Arrowhead County
C15 0530 and route 53 north to International Falls are outstanding. Farther
C15 0540 south, there are attractive patches all the way to the Ozarks, with some
C15 0550 seasonal peaks as late as early November. Illinois' Shawnee
C15 0560 National Forest, Missouri's Iron County and the maples of Hiawatha,
C15 0570 Kan& should be at their best in mid-October. _THE WEST._
C15 0580 The Rockies have many "Aspencades", which are organized tours
C15 0590 of the aspen areas with frequent stops at vantage points for viewing
C15 0600 the golden panoramas. In Colorado, Ouray has its Fall Color Week
C15 0610 Sept& 22-29, Rye and Salida both sponsor Aspencades Sept& 24,
C15 0620 and Steamboat Springs has a week-long Aspencade Sept& 25-30.
C15 0630 New Mexico's biggest is at Ruidoso Oct& 7, 8, while Alamogordo
C15 0640 and Cloudcroft cooperate in similar trips Oct& 1. #AMERICANA#
C15 0650 _PLEASURE DOMES._ Two sharply contrasting places designed for
C15 0660 public enjoyment are now on display.   The Corn Palace at Mitchell,
C15 0670 S& Dak&, "the world's corniest building", has a carnival through
C15 0680 Sept& 23 headlining the Three Stooges and Pee Wee Hunt.
C15 0690 Since 1892 ears of red, yellow, purple and white corn have annually
C15 0700 been nailed to 11 big picture panels to create hugh "paintings". The
C15 0710 1961 theme is the Dakota Territorial Centennial, with the pictures
C15 0720 including the Lewis and Clark expedition, the first river steamboat,
C15 0730 the 1876 gold rush, a little red schoolhouse on the prairie, and
C15 0740 today's construction of large Missouri River reservoirs. The panels
C15 0750 will stay up until they are replaced next summer.   Longwood
C15 0760 Gardens, near Kennett Square, Pa& (about 12 miles from Wilmington,
C15 0770 Del&), was developed and heavily endowed by the late Pierre S&
C15 0780 du Pont. Every Wednesday night through Oct& 11 there will be
C15 0790 an elaborate colored fountain display, with 229 nozzles throwing jets
C15 0800 of water up to 130 feet. The "peacock tail" nozzle throws a giant
C15 0810 fan of water 100 feet wide and 40 feet high. The gardens themselves
C15 0820 are open free of charge the year round, and the 192 permanent employes
C15 0830 make sure that not a dead or wilted flower is ever seen indoors or out
C15 0840 by any visitor. The greenhouses alone cover 3-1/2 acres. #BOOKS#
C15 0850 _CLOCK WITHOUT HANDS._ Carson McCullers, after a long, painful
C15 0860 illness that might have crushed a less-indomitable soul, has come
C15 0870 back with an absolute gem of a novel which jumped high on best-seller
C15 0880 lists even before official publication. Though the subject- segregation
C15 0890 in her native South- has been thoroughly worked, Miss McCullers
C15 0900 uses her poet's instinct and storyteller's skill to reaffirm
C15 0910 her place at the very top of modern American writing. @ _FRANNY
C15 0920 AND ZOOEY._ With an art that almost conceals art, J& D& Salinger
C15 0930 can create a fictional world so authentic that it hurts. Here, in
C15 0940 the most eagerly awaited novel of the season (his first since <The
C15 0950 Catcher in the Rye>), he tells of a college girl in flight from the
C15 0960 life around her and the tart but sympathetic help she gets from her
C15 0970 25-year-old brother. @ _THE HEAD OF MONSIEUR M&,_ Althea Urn.
C15 0980 A deft, hilarious satire on very high French society involving a
C15 0990 statesman with two enviable possessions, a lovely young bride and a head
C15 1000 containing such weighty thoughts that he has occasionally to remove
C15 1010 it for greater comfort. There is probably a moral in all this about
C15 1020 "mind <vs&> heart". @ _A MATTER OF LIFE AND DEATH._ Virgilia
C15 1030 Peterson, a critic by trade, has turned her critical eye pitilessly
C15 1040 and honestly on herself in an autobiography more of the mind and
C15 1050 heart than of specific events. It is an engrossing commentary on a repressive,
C15 1060 upper-middle-class New York way of life in the first part
C15 1065 of this
C15 1070 century. @ _DARK RIDER._ This retelling by Louis Zara of
C15 1080 the brief, anguished life of Stephen Crane- poet and master novelist
C15 1090 at 23, dead at 28- is in novelized form but does not abuse its tragic
C15 1100 subject. @ _RURAL FREE,_ Rachel Peden. Subtitled <A Farmwife's
C15 1110 Almanac of Country Living>, this is a gentle and nostalgic
C15 1120 chronicle of the changing seasons seen through the clear, humorous
C15 1130 eye of a Hoosier housewife and popular columnist. @ #DANCE# _RUSSIANS,
C15 1140 FILIPINOS._ Two noted troupes from overseas will get the
C15 1150 fall dance season off to a sparkling start. Leningrad's Kirov Ballet,
C15 1160 famous for classic purity of technique, begins its first U&S&
C15 1170 tour in New York (through Sept& 30). The Bayanihan Philippine
C15 1180 Dance Company, with music and dances that depict the many facets
C15 1190 of Filipino culture, opens its 60-city U&S& tour in San Francisco
C15 1200 (through Sept& 24) then, via one-night stands, moves on to
C15 1205 Los
C15 1210 los Angeles (Sept& 29-Oct& 1). #FESTIVALS# _ACROSS THE LAND._
C15 1220 With harvests in full swing, you can enjoy festivals for grapes
C15 1230 at Sonoma, Calif& (Sept& 22-24), as well as for cranberries
C15 1240 at Bandon, Ore& (Sept& 28-Oct& 1), for buckwheat at Kingwood,
C15 1250 W& Va& (Sept& 28-30), sugar cane at New Iberia, La& (Sept&
C15 1260 29-Oct& 1) and tobacco at Richmond, Va& (Sept& 23-30).
C15 1270    The mule is honored at Benson, N&C& (Sept& 22,23)
C15 1280 and at Boron, Calif& (Sept& 24-Oct& 1), while the legend
C15 1285 of
C15 1290 the Maid of the Mist is celebrated at Niagara Falls through the
C15 1300 24th. The fine old mansions of U&S& Grant's old home town of
C15 1310 Galena, Ill& are open for inspection (Sept& 23, 24). An archery
C15 1320 tournament will be held at North Falmouth, Mass& (Sept& 23,
C15 1330 24). The 300th anniversaries of Staten Island (through Sept& 23)
C15 1340 and of Mamaroneck, N&Y& (through Sept& 24) will both include
C15 1350 parades and pageants. #MOVIES# _PURPLE NOON:_ This French
C15 1360 film, set in Italy, is a summertime splurge in shock and terror all
C15 1370 shot in lovely sunny scenery- so breath-taking that at times you
C15 1380 almost forget the horrors the movie is dealing with. But slowly they
C15 1390 take over as Alain Delon (LIFE, Sept& 15), playing a sometimes
C15 1400 appealing but always criminal boy, casually tells a rich and foot-loose
C15 1410 American that he is going to murder him, then does it even while
C15 1420 the American is trying to puzzle out how Delon expects to profit from
C15 1430 the act. #RECORDS# _NORMA._ Callas devotees will have good
C15 1440 reason to do their customary cart wheels over a new and complete stereo
C15 1450 version of the Bellini opera. Maria goes all out as a Druid princess
C15 1460 who gets two-timed by a Roman big shot. By turns, her beautifully
C15 1470 sung Norma is fierce, tender, venomous and pitiful. The tenor lead,
C15 1480 Franco Corelli, and La Scala cast under Maestro Tullio Serafin
C15 1490 are all first rate. @ _JEREMIAH PEABODY'S POLYUNSATURATED QUICK
C15 1500 DISSOLVING FAST ACTING PLEASANT TASTING GREEN AND PURPLE PILLS._
C15 1510 In a raucous take-off on radio commercials, Singer Ray Stevens hawks
C15 1520 a cure-all for neuritis, neuralgia, head-cold distress, beriberi,
C15 1530 overweight, fungus, mungus and water on the knee. @
C15 1540 Of the nation's eight million pleasure-boat owners a sizable number
C15 1550 have learned that late autumn is one of the loveliest seasons to be afloat-
C15 1560 at least in that broad balmy region that lies below America's
C15 1570 belt line. Waterways are busy right now from the Virginia capes
C15 1580 to the Texas coast. There true yachtsmen often find November winds
C15 1590 steadier, the waters cooler, the fish hungrier, and rivers more pleasant-
C15 1600 less turbulence and mud, and fewer floating logs.   More and
C15 1610 more boats move overland on wheels (1.8 million trailers are now in
C15 1620 use) and Midwesterners taking long weekends can travel south with their
C15 1630 craft. In the Southwest, the fall brings out flotillas of boatsmen
C15 1640 who find the summer too hot for comfort. And on northern shores indomitable
C15 1650 sailors from Long Island to Lake Michigan will beat around
C15 1660 the buoys in dozens of frostbite races. Some pleasant fall cruising
C15 1670 country is mapped out below. #BOATING# _WEST COAST._ Pleasure
C15 1680 boating is just scooting into its best months in California as crisp
C15 1690 breezes bring out craft of every size on every kind of water- ocean,
C15 1700 lake and reservoir. Shore facilities are enormous- Los Angeles
C15 1710 harbors 5,000 boats, and Long Beach 3,000- but marinas are crowded
C15 1720 everywhere. New docks and ramps are being rushed at Playa del Rey,
C15 1730 Ventura, Dana Point, Oceanside and Mission Bay.   Inland,
C15 1740 outboard motorists welcome cooler weather and the chance to buzz over
C15 1750 Colorado River sandbars and Lake Mead. Newest small-boat playground
C15 1760 is the Salton Sea, a once-dry desert sinkhole which is now a
C15 1770 salty lake 42 miles long and 235 feet below sea level. On Nov& 11,
C15 1780 12, racers will drive their flying shingles in 5-mile laps over its 500-mile
C15 1790 speedboat course. In San Francisco Bay, winds are gusty and
C15 1800 undependable
C15 1810 during this season. A sailboat may have a bone in her teeth
C15 1820 one minute and lie becalmed the next. But regattas are scheduled
C15 1830 right up to Christmas. The Corinthian Yacht Club in Tiburon launches
C15 1840 its winter races Nov& 5. _GULF COAST._ Hurricane Carla damaged
C15 1850 70% of the marinas in the Galveston-Port Aransas area but
C15 1860 fuel service is back to normal, and explorers can roam as far west as
C15 1870 Port Isabel on the Mexican border. Sailing activity is slowed down
C15 1880 by Texas northers, but power cruisers can move freely, poking into the
C15 1890 San Jacinto, Trinity and Brazos rivers (fine tarpon fishing in
C15 1900 the Brazos) or pushing eastward to the pirate country of Barataria.
C15 1910 Off Grand Isle, yachters often visit the towering oil rigs. The Mississippi
C15 1920 Sound leads into a protected waterway running about 200 miles
C15 1930 from Pascagoula to Apalachicola. _LOWER MISSISSIPPI._ Memphis
C15 1940 stinkpotters like McKellar Lake, inside the city limits, and sailors
C15 1950 look for autumn winds at Arkabutla Lake where fall racing is
C15 1960 now in progress. River cruising for small craft is ideal in November.
C15 1970 At New Orleans, 25-mile-square Lake Pontchartrain has few squalls
C15 1980 and year-long boating. Marinas are less plush than the Florida type
C15 1990 but service is good and Creole cooking better. _~TVA LAKES._
C15 2000 Ten thousand twisty miles of shoreline frame the 30-odd lakes in the
C15 2010 vast Tennessee River system that loops in and out of seven states.
C15 2020 When dam construction began in 1933, fewer than 600 boats used these
C15 2030 waters; today there are 48,500.
C16 0010    {A YEAR} ago it was bruited that the primary character
C16 0020 in Erich
C16 0030 Maria Remarque's new novel was based on the Marquis Alfonso
C16 0040 de Portago, the Spanish nobleman who died driving in the Mille Miglia
C16 0050 automobile race of 1957. If this was in fact Mr& Remarque's
C16 0060 intention he has achieved a notable failure. Clerfayt of "Heaven
C16 0070 Has No Favorites" resembles Portago only in that he is male and
C16 0080 a race-driver- quite a bad race-driver, whereas Portago was a good
C16 0090 one. He is a dull, unformed, and aimless person; the twelfth Marquis
C16 0100 de Portago was intelligent, purposeful, and passionate.   One
C16 0110 looked forward to Mr& Remarque's ninth book if only because
C16 0120 not even a reasonably good novel has yet been written grounded on automobile
C16 0130 racing, as dramatic a sport as mankind has devised. Unhappily,
C16 0140 "Heaven Has No Favorites" does not alter the record except to
C16 0150 add one more bad book to the list.   Mr& Remarque's conception
C16 0160 of this novel was sound and perhaps even noble. He proposed throwing
C16 0170 together a man in an occupation of high hazard and a woman balanced
C16 0180 on a knife-edge between death from tuberculosis and recovery. His
C16 0190 treatment of it is something else. His heroine chooses to die- the
C16 0200 price of recovery, years under the strict regimen of a sanatorium, being
C16 0210 higher than she wishes to pay. Her lover precedes her in death, at
C16 0220 the wheel, and presumably he too has chosen. Between the first meeting
C16 0230 of Clerfayt and Lillian and this dismal denouement, Mr& Remarque
C16 0240 has laid down many pages of junior-philosophical discourse, some demure
C16 0250 and rather fetching love-making, pleasant talk about some of the
C16 0260 countryside and restaurants of Europe, and a modicum of automobile racing.
C16 0270 The ramblings on life, death, and the wonder of it all are distressing;
C16 0280 the love-making, perhaps because it is pale and low-key when
C16 0290 one has been conditioned to expect harsh colors and explicitness, is
C16 0300 often charming; the automobile racing bears little relation to reality.
C16 0310    This latter failure is more than merely bad reportage and
C16 0320 it is distinctly more important than it would have been had the author
C16 0330 drawn Clerfayt as, say, a tournament golfer. Hazards to life and
C16 0340 limb on the golf course, while existent, are actuarially insignificant.
C16 0350 Race-drivers, on the other hand, are quite often killed on the circuit,
C16 0360 and since it was obviously Mr& Remarque's intention to establish
C16 0370 automobile racing as life in microcosm, one might reasonably have
C16 0380 expected him to demonstrate precise knowledge not only of techniques
C16 0390 but of mores and attitudes. He does not. The jacket biography describes
C16 0400 him as a former racing driver, and he may indeed have been, although
C16 0410 I do not recall having encountered his name either in the records
C16 0420 or the literature. Perhaps he has only forgotten a great deal. The
C16 0430 book carries a disclaimer in which Remarque says it has been necessary
C16 0440 for him to take minor liberties with some of the procedures and formalities
C16 0450 of racing. The necessity is not clear to me, and, in any case,
C16 0460 to present a case-hardened race-driver as saying he has left his car,
C16 0470 which, or whom, he calls "Giuseppe", parked "on the Place Vendome
C16 0480 sneering at a dozen Bentleys and Rolls-Royces parked around
C16 0490 him" is not a liberty; it is an absurdity.   But it is in the
C16 0500 matter of preoccupation with death, which is the primary concern of
C16 0510 the book, that Remarque's failure is plainest. Clerfayt is neurotic,
C16 0520 preoccupied, and passive. To be human, he believes, is to seek one's
C16 0530 own destruction: the Freudian "death-wish" cliche inevitably
C16 0540 cited whenever laymen talk about auto race-drivers. In point of fact,
C16 0550 the race-drivers one knows are nearly always intelligent, healthy
C16 0560 technicians who differ from other technicians only in the depth of the
C16 0570 passion they feel for the work by which they live. A Clerfayt may moon
C16 0580 on about the face of Death in the cockpit; a Portago could say,
C16 0590 as he did say to me, "If I die tomorrow, still I have had twenty-eight
C16 0600 wonderful years; but I shan't die tomorrow; I'll live
C16 0610 to be 105".   Clerfayt, transported, may think of the engine
C16 0620 driving his car as "a mystical beast under the hood". The Italian
C16 0630 master Piero Taruffi, no less sensitive, knows twice the ecstasy
C16 0640 though he thinks of a car's adhesion to a wet two-lane road at 165 miles
C16 0650 an hour as a matter best expressed in algebraic formulae. Clerfayt,
C16 0655 driving,
C16 0660 sees himself "a volcano whose cone funneled down to hell";
C16 0670 the Briton Stirling Moss, one of the greatest <virtuosi> of all
C16 0680 time, believes that ultra-fast road-circuit driving is an art form related
C16 0690 to ballet.   Errors in technical terminology suggest that
C16 0700 the over-all translation from the German may not convey quite everything
C16 0710 Mr& Remarque hoped to tell us.   However, my principal
C16 0720 objection in this sort of novel is to the hackneyed treatment of race-drivers,
C16 0730 pilots, submariners, atomic researchers, and all the machine-masters
C16 0740 of our age as brooding mystics or hysterical fatalists.
C16 0750    {THE WEST} is leaderless, according to this book. In
C16 0760 contrast,
C16 0770 the East is ably led by such stalwart heroes as Khrushchev, Tito,
C16 0780 and Mao. Against this invincible determination to communize the
C16 0790 whole world stands a group of nations unable to agree on fundamentals
C16 0800 and each refusing to make any sacrifice of sovereignty for the common
C16 0810 good of all.   It is Field Marshal Montgomery's belief that
C16 0820 in most Western countries about 60 per cent of the people do not really
C16 0830 care about democracy or Christianity; about 30 per cent call themselves
C16 0840 Christians in order to keep up appearances and be considered
C16 0850 respectable, and only the last 10 per cent are genuine Christians and
C16 0860 believers in democracy.   But these Western countries do care
C16 0870 about themselves. Each feels intensely national. If, say, the Russians
C16 0880 intended to stop Tom Jones' going to the pub, then Tom Jones
C16 0890 would fight the Commies. But he would fight for his own liberty rather
C16 0900 than for any abstract principle connected with it- such as "cause".
C16 0910 For all practical purposes, the West stands disunited, undedicated,
C16 0920 and unprepared for the tasks of world leadership.   With
C16 0930 this barrage, Montgomery of Alamein launches his attack upon the
C16 0940 blunderings of the West. Never given to mincing words, he places heavy
C16 0950 blame upon the faulty, uncourageous leadership of Britain and particularly
C16 0960 America. At war's end leadership in Western Europe passed
C16 0970 from Britain because the Labour Government devoted its attention
C16 0980 to the creation of a welfare state. With Britain looking inward, overseas
C16 0990 problems were neglected and the baton was passed on to the United
C16 1000 States.   Montgomery believes that she started well. "America
C16 1010 gave generously in economic aid and military equipment to friend
C16 1020 and foe alike". She pushed wartorn and poverty-stricken nations into
C16 1030 prosperity, but she failed to lead them into unity and world peace.
C16 1040 America has divided more than she has united the West. The reasons
C16 1050 are that America generally believes that she can buy anything with
C16 1060 dollars, and that she compulsively strives to be liked. However, she
C16 1070 really does not know how to match the quantity of dollars given away by
C16 1080 a quality of leadership that is basically needed.   But the greater
C16 1090 reason for fumbling, stumbling American leadership is due to the
C16 1100 shock her pride suffered when the Japanese attacked at Pearl Harbor.
C16 1110 "They are determined", Montgomery writes, "not to be surprised
C16 1120 again, and now insist on a state of readiness for war which is not
C16 1130 only unnecessary, but also creates nervousness **h among other nations
C16 1140 in the Western Alliance- not to mention such great suspicions among
C16 1150 the nations of the Eastern bloc that any progress towards peaceful
C16 1160 coexistence or disarmament is not possible".   The net result
C16 1170 is that under American leadership the general world situation has
C16 1180 become bad. To "Monty", the American people, who in two previous
C16 1190 world wars were very reluctant to join the fight, "now look like the
C16 1200 nation most likely to lead us all into a third World War". ##
C16 1210 {AS}
C16 1220 faulty as has been our leadership clearly the United States
C16 1230 must be relied upon to lead. The path to leadership is made clear.
C16 1240 Montgomery calls for a leader who will first put the West's own
C16 1250 house in order. Such a man must be able and willing to give clear and
C16 1260 sensible advice to the whole group, a person in whom all the member nations
C16 1270 will have absolute confidence. This leader must be a man who lives
C16 1280 above illusions that heretofore have shaped the foreign policy of
C16 1290 the United States, namely that Russia will agree to a reunited Germany,
C16 1300 that the East German government does not exist, that events in
C16 1310 Japan in June 1960 were Communist-inspired, that the true government
C16 1320 of China is in Formosa, that Mao was the evil influence behind
C16 1330 Khrushchev at the Summit Conference in Paris in May 1960, and that
C16 1340 either China or Russia wants or expects war.   Such a leader
C16 1350 must strengthen ~NATO politically, and establish that true unity
C16 1360 about which it has always talked. After drastically overhauling ~NATO,
C16 1370 Western leadership should turn to reducing the suspicions that
C16 1380 tear apart the East and West. Major to this effort is to get all
C16 1390 world powers to withdraw to their own territories, say by 1970. "The
C16 1400 West should make the central proposal; but the East would have
C16 1410 to show sincerity in carrying it out".   "But where is the
C16 1420 leader who will handle all these things for us"? Montgomery knew
C16 1430 all the national leaders up to the time of Kennedy. The man whom he
C16 1440 would select as our leader for this great task is de Gaulle. He alone
C16 1450 has the wisdom, the conviction, the tenacity, and the courage to reach
C16 1460 a decision. But de Gaulle is buried in the cause of restoring France's
C16 1470 lost soul.   Whoever rises to the occasion walks a treacherous
C16 1480 path to leadership. The leader Montgomery envisages will need
C16 1490 to discipline himself, lead a carefully regulated and orderly life,
C16 1500 allow time for quiet thought and reflection, adapt decisions and plans
C16 1510 to changing situations, be ruthless, particularly with inefficiency,
C16 1520 and be honest and morally proper. All in all, Montgomery calls for a
C16 1530 leader who will anticipate and dominate the events that surround him.
C16 1540 ## {IN LOOKING} as far back as Moses, thence to Cromwell,
C16 1550 Napoleon, Lincoln, Churchill, and Nehru, Montgomery attempts
C16 1560 to trace the stirrings and qualities of great men. He believes that
C16 1570 greatness is a marriage between the man and the times as was aptly represented
C16 1580 by Churchill, who would very possibly have gone down in history
C16 1590 as a political failure if it had not been for Hitler's war.
C16 1600    However, Montgomery makes little contribution to leadership theory
C16 1610 and practice. Most of what is said about his great men of history
C16 1620 has already been said, and what has not is largely irrelevant to the contemporary
C16 1630 scene. Like Eisenhower, he holds the militarist's suspicion
C16 1640 of politicians. However, at the same time Montgomery selects as
C16 1650 his hero de Gaulle, who is a militarist dominated by political ambitions.
C16 1660 "Monty" shows a remarkable capacity for the direct statement
C16 1670 and an equally remarkable incapacity for giving adequate support.
C16 1680 For the most part, his writing rambles and jogs, preventing easy access
C16 1690 by the reader to his true thoughts.   Nevertheless, Montgomery
C16 1700 has stated courageously and wisely the crisis of the Western world.
C16 1710 It suffers from a lack of unity of purpose and respect for heroic leadership.
C16 1720 And it remains to be seen if the new frontier now taking form
C16 1730 can produce the leadership and wisdom necessary to understand the
C16 1740 current shape of events.
C16 1750    {IT IS} no common thing for a listener (critical or otherwise)
C16 1760 to hear a singer "live" for the first time only after he
C16 1770 has died. But then, Mario Lanza was no common singer, and his whole
C16 1780 career, public and non-public, was studded with the kind of unconventional
C16 1790 happenings that terminate with the appearance of his first "recital"
C16 1800 only when he has ceased to be a living voice. It is a kind
C16 1810 of justice, too, that it should originate in London's Royal Albert
C16 1820 Hall, where, traditionally, the loudest, if not the greatest, performers
C16 1830 have entertained the thousands it will accommodate (~RCA Victor
C16 1840 ~LM 2454, $4.98).   To be sure, Lanza made numerous concert
C16 1850 tours, here and abroad, but these did not take him to New York
C16 1860 where the carping critic might lurk.
C17 0010    The reading public, the theatergoing public, the skindiving
C17 0015 public, the
C17 0020 horse-playing public- all these and others fill substantial roles
C17 0030 in U&S& life, but none is so varied, vast and vigilant as the eating
C17 0040 public. The Department of Agriculture averaged out U&S&
C17 0050 food consumption last year at 1,488 lbs& per person, which, allowing
C17 0060 for the 17 million Americans that John Kennedy said go to bed hungry
C17 0070 every night, means that certain gluttons on the upper end must somehow
C17 0080 down 8 lbs& or more a day. That mother hen of the weight-height
C17 0090 tables, the Metropolitan Life Insurance Co&, clucks that 48 million
C17 0100 Americans are overweight.   Through previous centuries, eating
C17 0110 changed by nearly imperceptible degrees, and mostly toward just
C17 0120 getting enough. Now big forces buffet food. For the first time in history,
C17 0130 the U&S& has produced a society in which less than one-tenth
C17 0140 of the people turn out so much food that the Government's most
C17 0150 embarrassing problem is how to dispose inconspicuously of 100 million
C17 0160 tons of surplus farm produce. In this same society, the plain citizen
C17 0170 can with an average of only one-fifth his income buy more calories than
C17 0180 he can consume. Refrigeration, automated processing and packaging
C17 0190 conspire to defy season and banish spoilage. And in the wake of the new
C17 0200 affluence and the new techniques of processing comes a new American
C17 0210 interest in how what people eat affects their health. To eat is human,
C17 0220 the nation is learning to think, to survive divine. #FADS, FACTS
C17 0230 **H# Not all the concern for health is well directed. From the fusty
C17 0240 panaceas of spinach, eggs and prunes, the U&S& has progressed
C17 0250 to curds, concentrates and capsules. Each year, reports the American
C17 0260 Medical Association, ten million Americans spend $900 million on
C17 0270 vitamins, tonics and other food supplements. At juice bars in Los
C17 0280 Angeles' 35 "health" stores, a new sensation is a pink, high-protein
C17 0290 cocktail, concocted of dried eggs, powdered milk and cherry-flavored
C17 0300 No-Cal, which sells for 59@ per 8-oz& glass. Grocery stores
C17 0310 sell dozens of foods that boast of having almost no food value at all.
C17 0320    But a big part of the public wants to know facts about diet
C17 0330 and health, and a big group of U&S& scientists wants to supply
C17 0340 them. The man most firmly at grips with the problem is the University
C17 0350 of Minnesota's Physiologist Ancel Keys, 57, inventor of the wartime
C17 0360 ~K (for Keys) ration and author of last year's bestselling
C17 0370 <Eat Well and Stay Well>. From his birch-paneled office in the
C17 0380 Laboratory of Physiological Hygiene, under the university's football
C17 0390 stadium in Minneapolis ("We get a rumble on every touchdown"),
C17 0400 blocky, grey-haired Dr& Keys directs an ambitious, $200,000-a-year
C17 0410 experiment on diet, which spans three continents and seven nations
C17 0420 and is still growing. Pursuing it, he has logged 500,000 miles, suffered
C17 0430 indescribable digestive indignities, and meticulously collected
C17 0440 physiological data on the health and eating habits of 10,000 individuals,
C17 0450 from Bantu tribesmen to Italian <contadini>. He has measured
C17 0460 the skinfolds (the fleshy areas under the shoulder blades) of Neapolitan
C17 0470 firemen, studied the metabolism of Finnish woodcutters, analyzed
C17 0480 the "mealie-meal" eaten by Capetown coloreds, and experimented
C17 0490 on Minneapolis businessmen. #**H AND FATS.# Keys's findings,
C17 0510 though far from complete, are likely to smash many an eating cliche.
C17 0520 Vitamins, eggs and milk begin to look like foods to hold down on (though
C17 0530 mothers' milk is still the ticket). Readings of the number of milligrams
C17 0540 of cholesterol in the blood, which seem to have value in predicting
C17 0550 heart attacks, are becoming as routine as the electrocardiogram,
C17 0560 which can show that the heart has suffered a symptomatic attack. Already
C17 0570 many an American knows his count, and rejoices or worries depending
C17 0580 on whether it is nearer 180 (safe) or 250 (dangerous).   Out
C17 0590 of cholesterol come Keys's main messages so far:   @ Americans
C17 0600 eat too much. The typical U&S& daily menu, says Dr&
C17 0610 Keys, contains 3,000 calories, should contain 2,300. And extra weight
C17 0620 increases the risk of cancer, diabetes, artery disease and heart attack.
C17 0630    @ Americans eat too much fat. With meat, milk, butter
C17 0640 and ice cream, the calorie-heavy U&S& diet is 40% fat, and most
C17 0650 of that is saturated fat- the insidious kind, says Dr& Keys,
C17 0660 that increases blood cholesterol, damages arteries, and leads to coronary
C17 0670 disease. #OBESITY: A MALNUTRITION.# Throughout much of the
C17 0680 world, food is still so scarce that half of the earth's population
C17 0690 has trouble getting the 1,600 calories a day necessary to sustain life.
C17 0700 The deficiency diseases- scurvy, tropical sprue, pellagra- run
C17 0710 rampant. In West Africa, for example, where meat is a luxury and babies
C17 0720 must be weaned early to make room at the breast for later arrivals,
C17 0730 a childhood menace is <kwashiorkor,> or "red Johnny", a growth-stunting
C17 0740 protein deficiency (signs: reddish hair, bloated belly)
C17 0750 that kills more than half its victims, leaves the rest prey for parasites
C17 0760 and lingering tropical disease.   In the well-fed U&S&,
C17 0770 deficiency diseases have virtually vanished in the past 20 years. Today,
C17 0780 as Harrison's <Principles of Internal Medicine,> a standard
C17 0790 internist's text, puts it, "The most common form of malnutrition
C17 0800 is caloric excess or obesity".   Puritan New England regarded
C17 0810 obesity as a flagrant symbol of intemperance, and thus a sin. Says
C17 0820 Keys: "Maybe if the idea got around again that obesity is immoral,
C17 0830 the fat man would start to think". Morals aside, the fat man
C17 0840 has plenty to worry about- over and above the fact that no one any
C17 0850 longer loves him. The simple mechanical strain of overweight, says New
C17 0860 York's Dr& Norman Jolliffe, can overburden and damage the
C17 0870 heart "for much the same reason that a Chevrolet engine in a Cadillac
C17 0880 body would wear out sooner than if it were in a body for which it
C17 0890 was built". The fat man has trouble buying life insurance or has to
C17 0900 pay higher premiums. He has- for unclear reasons- a 25% higher
C17 0910 death rate from cancer. He is particularly vulnerable to diabetes. He
C17 0920 may find even moderate physical exertion uncomfortable, because excess
C17 0930 body fat hampers his breathing and restricts his muscular movement.
C17 0940    Physiologically, people overeat because what Dr& Jolliffe
C17 0950 calls the "appestat" is set too high. The appestat, which adjusts
C17 0960 the appetite to keep weight constant, is located, says Jolliffe,
C17 0970 in the hypothalamus- near the body's temperature, sleep and water-balance
C17 0980 controls. Physical exercise raises the appestat. So does cold
C17 0990 weather. In moderate doses, alcohol narcotizes the appestat and enhances
C17 1000 appetite (the original reason for the cocktail); but because liquor
C17 1010 has a high caloric value- 100 calories per oz&- the heavy
C17 1020 drinker is seldom hungry. In rare cases, diseases such as encephalitis
C17 1030 or a pituitary tumor may damage the appestat permanently, destroying
C17 1040 nearly all sense of satiety. #FOOD FOR FRUSTRATION.# Far more frequently,
C17 1050 overeating
C17 1055 is the result of a psychological compulsion. It
C17 1060 may be fostered by frustration, depression, insecurity- or, in children,
C17 1070 simply by the desire to stop an anxious mother's nagging. Some
C17 1080 families place undue emphasis on food: conversations center on it,
C17 1090 and rich delicacies are offered as rewards, withheld as punishment. The
C17 1100 result says Jolliffe: "The child gains the feeling that food
C17 1110 is the purpose of life". Food may act as a sedative, giving temporary
C17 1120 emotional solace, just as, for some people, alcohol does. Reports
C17 1130 Dr& Keys: "A fairly common experience for us is the wife who
C17 1140 finds her husband staying out more and more. He may be interested in
C17 1150 another woman, or just like being with the boys. So she fishes around
C17 1160 in the cupboard and hauls out a chocolate cake. It's a matter of
C17 1170 boredom, and the subconscious feeling that she is entitled to something,
C17 1180 because she's being deprived of something else".   For the
C17 1190 army of compulsive eaters- from the nibblers and the gobblers to
C17 1200 the downright gluttons- reducing is a war with the will that is rarely
C17 1210 won. Physiologist Keys flatly dismisses such appetite depressants
C17 1220 as the amphetamines
C17 1225 (Benzedrine, Dexedrine) as dangerous "crutches
C17 1230 for a weak will".   Keys has no such objections to Metrecal,
C17 1240 Quaker Oats's Quota and other 900-calorie milk formulas that are
C17 1250 currently winning favor from dieters. "Metrecal is a pretty complete
C17 1260 food", he says. "It contains large amounts of protein, vitamins
C17 1270 and minerals. In the quantity of 900 calories a day, anyone will lose
C17 1280 weight on it- 20, 30 or 40 lbs&". But Keys worries that the
C17 1290 Metrecal drinker will never make either the psychological or physiological
C17 1300 adjustment to the idea of eating smaller portions of food. #THAT
C17 1310 REMARKABLE CHOLESTEROL.# Despite his personal distaste for obesity
C17 1320 ("disgusting"), Dr& Keys has only an incidental interest
C17 1330 in how much Americans eat. What concerns him much more is the relationship
C17 1340 of diet to the nation's No& 1 killer: coronary artery disease,
C17 1350 which accounts for more than half of all heart fatalities and kills
C17 1360 500,000 Americans a year- twice the toll from all varieties of
C17 1370 cancer, five times the deaths from automobile accidents.   Cholesterol,
C17 1380 the cornerstone of Dr& Keys's theory, is a mysterious
C17 1385 yellowish,
C17 1390 waxy substance, chemically a crystalline alcohol. Scientists
C17 1400 assume that cholesterol (from the Greek <chole,> meaning bile, and
C17 1410 <sterios,> meaning solid) is somehow necessary for the formation of
C17 1420 brain cells, since it accounts for about 2% of the brain's total
C17 1430 solid weight. They know it is the chief ingredient in gallstones. They
C17 1440 suspect it plays a role in the production of adrenal hormones, and
C17 1450 they believe it is essential to the transport of fats throughout the
C17 1460 circulatory system. But they cannot fully explain the process of its
C17 1470 manufacture by the human liver. Although the fatty protein molecules,
C17 1480 carried in the blood and partly composed of cholesterol, are water soluble,
C17 1490 cholesterol itself is insoluble, and cannot be destroyed by the
C17 1500 body. "A remarkable substance", says Dr& Keys, "quite apart
C17 1510 from its tendency to be deposited in the walls of arteries".
C17 1520    When thus deposited, Keys says that cholesterol is mainly responsible
C17 1530 for the arterial blockages that culminate in heart attacks. Explains
C17 1540 Keys: As the fatty protein molecules travel in the bloodstream,
C17 1550 they are deposited in the intima, or inner wall of a coronary artery.
C17 1560 The proteins and fats are burned off, and the cholesterol is left
C17 1570 behind. As cholesterol piles up, it narrows, irritates and damages the
C17 1580 artery, encouraging formation of calcium deposits and slowing circulation.
C17 1590 Eventually, says Keys, one of two things happens. A clot forms
C17 1600 at the site, seals off the flow of blood to the heart and provokes
C17 1610 a heart attack. Or (more commonly, thinks Keys) the deposits themselves
C17 1620 get so big that they choke off the artery's flow to the point that
C17 1630 an infarct occurs: the heart muscle is suffocated, cells supplied
C17 1640 by the artery die, and the heart is permanently, perhaps fatally injured.
C17 1650 #FATS + CORONARIES.# Ordinarily, the human liver synthesizes
C17 1660 only enough cholesterol to satisfy the body's needs- for transportation
C17 1670 of fats and for production of bile. Even eggs and other cholesterol-rich
C17 1680 foods, eaten in normal amounts, says Dr& Keys, do not materially
C17 1690 affect the amount of cholesterol in the blood. But fatty foods
C17 1700 do.   During World War /2,, doctors in The Netherlands
C17 1710 and Scandinavia noted a curious fact: despite the stresses of Nazi
C17 1720 occupation, the death rate from coronary artery disease was slowly dropping.
C17 1730 Not until long after the war- 1950, in fact- did they get
C17 1740 a hint of the reason. That year, Sweden's Haqvin Malmros showed
C17 1750 that the sinking death rate neatly coincided with increasingly severe
C17 1760 restrictions on fatty foods. That same year the University of California's
C17 1770 Dr& Laurance Kinsell, timing oxidation rates of blood
C17 1780 fats, stumbled onto the discovery that many vegetable fats cause blood
C17 1790 cholesterol levels to drop radically, while animal fats cause them to
C17 1800 rise. Here Keys and others, such as Dr& A& E& Ahrens of
C17 1810 the Rockefeller Institute, took over to demonstrate the chemical difference
C17 1820 between vegetable and animal fats- and even between different
C17 1830 varieties of each.   All natural food fats fall into one of three
C17 1840 categories- saturated, mono-unsaturated and poly-unsaturated.
C17 1850 The
C17 1860 degree of saturation depends on the number of hydrogen atoms on the
C17 1870 fat molecule. Saturated fats can accommodate no more hydrogens. Mono-unsaturated
C17 1880 fats have room for two more hydrogens on each molecule,
C17 1890 and the poly-unsaturated fat molecule has room for at least four hydrogens.
C17 1900    The three fats have similar caloric values (about 265 calories
C17 1910 per oz&), but each exerts a radically different influence on
C17 1920 blood cholesterol.
