C01 0010  1       IT IS NOT NEWS that Nathan Milstein is a wizard
C01 0010 11    of the violin. Certainly not in Orchestra hall where
C01 0020  8    he has played countless recitals, and where Thursday
C01 0030  5    night he celebrated his 20th season with the Chicago
C01 0040  3    Symphony orchestra, playing the Brahms Concerto with
C01 0050  1    his own slashing, demon-ridden cadenza melting into
C01 0050  9    the high, pale, pure and lovely song with which a violinist
C01 0060  9    unlocks the heart of the music, or forever finds it
C01 0070  5    closed.
C01 0070  6       There was about that song something incandescent,
C01 0080  2    for this Brahms was Milstein at white heat. Not the
C01 0090  2    noblest performance we have heard him play, or the
C01 0090 11    most spacious, or even the most eloquent. Those would
C01 0100  8    be reserved for the orchestra's great nights when the
C01 0110  5    soloist can surpass himself. This time the orchestra
C01 0120  2    gave him some superb support fired by response to his
C01 0120 12    own high mood. But he had in Walter Hendl a willing
C01 0130 11    conductor able only up to a point.
C01 0140  5       That is, when Mr& Milstein thrust straight to the
C01 0150  3    core of the music, sparks flying, bow shredding, violin
C01 0150 12    singing, glittering and sometimes spitting, Mr& Hendl
C01 0160  7    could go along. But Mr& Hendl does not go straight
C01 0170  7    to any point. He flounders and lets music sprawl. There
C01 0180  5    was in the Brahms none of the mysterious and marvelous
C01 0190  2    alchemy by which a great conductor can bring soloist,
C01 0190 11    orchestra and music to ultimate fusion. So we had some
C01 0200 10    dazzling and memorable Milstein, but not great Brahms.
C01 0210  6       The concert opened with another big romantic score,
C01 0220  5    Schumann's Overture to "Manfred", which suffered fate,
C01 0230  4    this time with orchestral thrusts to the Byronic point
C01 0240  2    to keep it afloat. Hindemith's joust with Weber tunes
C01 0240 11    was a considerably more serious misfortune, for it
C01 0250  8    demands transluscent textures, buoyant rhythms, and
C01 0260  5    astringent wit. It got the kind of scrambled, coarsened
C01 0270  2    performance that can happen to best of orchestras when
C01 0280  1    the man with the baton lacks technique and style.
C01 0280 10    #BAYREUTH NEXT SUMMER#
C01 0290  2    The Bayreuth Festival opens July 23 with a new production
C01 0300  1    of "Tannhaeuser" staged by Wieland Wagner, who is doing
C01 0300 10    all the operas this time, and conducted by Wolfgang
C01 0310  8    Sawallisch. Sawalisch also conducts "The Flying Dutch",
C01 0320  6    opening July 24. "Parsifal" follows July 25, with Hans
C01 0330  6    Knappertsbusch conducting, and he also conducts "Die
C01 0340  4    Meistersinger", to be presented Aug& 8 and 12. The
C01 0350  3    "Ring" cycles are July 26, 27, 28 and 30, and Aug&
C01 0360  1    21, 22, 23 and 25. Rudolf Kempe conducts. No casts
C01 0360 11    are listed, but Lotte Lehmann sent word that the Negro
C01 0370  8    soprano, Grace Bumbry, will sing Venus in "Tannhaeuser".
C01 0390  1       REMEMBER HOW BY a series of booking absurdities
C01 0390  9    Chicago missed seeing the Bolshoi Ballet? Remember
C01 0400  7    how by lack of two big theaters Chicago missed the
C01 0410  5    first visit of the Royal Danish Ballet? Well, now we
C01 0420  4    have two big theaters. But barring a miracle, and don't
C01 0430  2    hold your breath for it, Chicago will not see the Leningrad-Kirov
C01 0440  1    Ballet, which stems from the ballet cradle of the Maryinsky
C01 0440 11    and is one of the great companies of the world.
C01 0450 10       Before you let loose a howl saying we announced
C01 0460  7    its coming, not once but several times, indeed we did.
C01 0470  4    The engagement was supposed to be all set for the big
C01 0480  1    theater in McCormick Place, which Sol Hurok, ballet
C01 0480  9    booker extraordinary, considers the finest house of
C01 0490  6    its kind in the country- and of course he doesn't weep
C01 0500  6    at the capacity, either.
C01 0500 10    #@#
C01 0500 11    It was all set. Allied Arts corporation first listed
C01 0510  9    the Chicago dates as Dec& 4 thru 10. Later the Hurok
C01 0520  9    office made it Dec& 8 thru 17, a nice, long booking
C01 0530  6    for the full repertory. But if you keep a calendar
C01 0540  1    of events, as we do, you noticed a conflict. Allied
C01 0540 11    Arts had booked Marlene Dietrich into McCormick Place
C01 0550  7    Dec& 8 and 9. Something had to give. Not La Dietrich.
C01 0560  7    Allied Arts then notified us that the Kirov would cut
C01 0570  7    short its Los Angeles booking, fly here to open Nov&
C01 0580  4    28, and close Dec& 2. Shorter booking, but still a
C01 0590  2    booking. We printed it.
C01 0590  6       A couple of days later a balletomane told me he
C01 0600  4    had telephoned Allied Arts for ticket information and
C01 0600 12    was told "the newspapers had made a mistake". So I
C01 0610 10    started making some calls of my own. These are the
C01 0620  9    results.
C01 0620 10    #@#
C01 0620 11    The Kirov Ballet is firmly booked into the Shrine Auditorium,
C01 0630  8    Los Angeles, Nov& 21 thru Dec& 4. Not a chance of opening
C01 0640 10    here Nov& 28- barring that miracle. Then why not the
C01 0650  8    juicy booking Hurok had held for us? Well, Dietrich
C01 0660  5    won't budge from McCormick Place. Then how about the
C01 0670  4    Civic Opera house? Well, Allied Arts has booked Lena
C01 0680  2    Horne there for a week starting Dec& 4.
C01 0680 10       Queried about the impasse, Allied Arts said: "Better
C01 0690  7    cancel the Kirov for the time being. It's all up in
C01 0700  8    the air again".
C01 0700 11       So the Kirov will fly back to Russia, minus a Chicago
C01 0710  9    engagement, a serious loss for dance fans- and for
C01 0720  7    the frustrated bookers, cancellation of one of the
C01 0730  4    richest bookings in the country.
C01 0730  9       Will somebody please reopen the Auditorium?
C01 0740  1       Paintings and drawings by Marie Moore of St& Thomas,
C01 0740 10    Virgin Islands, are shown thru Nov& 5 at the Meadows
C01 0750 10    gallery, 3211 Ellis av&, week days, 3 p& m& to 8 p&
C01 0760 11    m&, Sundays 3 p& m& to 6 p& m&, closed Mondays. @
C01 0770  8    #@#
C01 0770  9    An exhibition of Evelyn Cibula's paintings will open
C01 0780  6    with a reception Nov& 5 at the Evanston Community center,
C01 0790  5    828 Davis st&. It will continue all month.
C01 0800  2    #@#
C01 0800  3    Abstractions and semi-abstractions by Everett McNear
C01 0810  1    are being exhibited by the University gallery of Notre
C01 0810 10    Dame until Nov& 5.
C01 0830  1       In the line of operatic trades to cushion the budget,
C01 0830 11    the Dallas Civic Opera will use San Francisco's new
C01 0840  8    Leni Bauer-Ecsy production of "Lucia di Lammermoor"
C01 0850  6    this season, returning the favor next season when San
C01 0860  5    Francisco uses the Dallas "Don Giovanni", designed
C01 0870  2    by Franco Zeffirelli.
C01 0880  1       H E& BATES has scribbled a farce called "Hark, Hark,
C01 0890  1    the Lark"! It is one of the most entertaining and irresponsible
C01 0900  1    novels of the season.
C01 0900  5       If there is a moral lurking among the shenanigans,
C01 0910  2    it is hard to find. Perhaps the lesson we should take
C01 0910 13    from these pages is that the welfare state in England
C01 0920 10    still allows wild scope for all kinds of rugged eccentrics.
C01 0930  8       Anyway, a number of them meet here in devastating
C01 0940  6    collisions. One is an imperial London stockbroker called
C01 0950  3    Jerebohm. Another is a wily countryman called Larkin,
C01 0960  1    whose blandly boisterous progress has been chronicled,
C01 0960  8    I believe, in earlier volumes of Mr& Bates' comedie
C01 0970  8    humaine.
C01 0970  9       What's up now? Well, Jerebohm and his wife Pinkie
C01 0980  9    have reached the stage of affluence that stirs a longing
C01 0990  8    for the more atrociously expensive rustic simplicities.
C01 1000  3       They want to own a junior-grade castle, or a manor
C01 1010  4    house, or some modest little place where Shakespeare
C01 1010 12    might once have staged a pageant for Great Elizabeth
C01 1020  9    and all her bearded courtiers.
C01 1030  2       They are willing to settle, however, in anything
C01 1040  1    that offers pheasants to shoot at and peasants to work
C01 1040 11    at. And of course Larkin has just the thing they want.
C01 1050  8    #SPLENDOR BY SORCERY#
C01 1060  1    It's a horror. The name of it is Gore Court, and it
C01 1060 13    is surrounded by a wasteland that would impress T&
C01 1070  8    S& Eliot. That's not precisely the way Larkin urges
C01 1080  6    them to look at it, though. He conjures herds of deer,
C01 1100  3    and wild birds crowding the air.
C01 1100  9       He suggests that Gore Court embodies all the glories
C01 1110  8    of Tudor splendor. The stained-glass windows may have
C01 1120  4    developed unpremeditated patinas, the paneling may
C01 1130  2    be no more durable than the planks in a political platform.
C01 1140  1    The vast, dungeon kitchens may seem hardly worth using
C01 1140 10    except on occasions when one is faced with a thousand
C01 1150  8    unexpected guests for lunch.
C01 1160  1       Larkin has an answer to all that. The spaciousness
C01 1160 10    of the Tudor cooking areas, for example, will provide
C01 1170  7    needed space for the extra television sets required
C01 1180  4    by modern butlers, cooks and maids. Also, perhaps,
C01 1190  1    table-tennis and other indoor sports to keep them fit
C01 1190 11    and contented.
C01 1200  1       It's a wonder, really, to how much mendacious trouble
C01 1210  1    Larkin puts himself to sell the Jerebohms that preposterous
C01 1210 10    manse. He doesn't really need the immense sum of money
C01 1220 10    (probably converted from American gold on the London
C01 1230  7    Exchange) he makes them pay.
C01 1240  1       For Larkin is already wonderfully contented with
C01 1240  8    his lot. He has a glorious wife and many children.
C01 1250  7    When he needs money to buy something like, say, the
C01 1260  4    Rolls-Royce he keeps near his vegetable patch, he takes
C01 1270  2    a flyer in the sale of surplus army supplies. One of
C01 1270 13    those capital-gains ventures, in fact, has saddled
C01 1280  6    him with Gore Court. He is willing to sell it just
C01 1290  6    to get it off his hands.
C01 1290 12       And the Jerebohms are more than willing to buy it.
C01 1300  8    They plan to become county people who know the proper
C01 1310  5    way to terminate a fox's life on earth.
C01 1320  1    #FIRST ONE, THEN THE OTHER#
C01 1320  5    If, in Larkin's eyes, they are nothing but Piccadilly
C01 1330  3    farmers, he has as much to learn about them as they
C01 1340  1    have to learn about the ways of truly rural living.
C01 1340 11       Mr& Bates shows us how this mutual education spreads
C01 1350  8    its inevitable havoc. Oneupmanship is practiced by
C01 1360  4    both sides in a total war.
C01 1360 10       First the Larkins are ahead, then the Jerebohms.
C01 1370  8    After Larkin has been persuaded to restock his tangled
C01 1380  5    acres with pheasants, he poaches only what he needs
C01 1390  3    for the nourishment of his family and local callers.
C01 1390 12    One of the local callers, a retired brigadier apparently
C01 1400  9    left over from Kipling's tales of India, does not approve
C01 1410  7    of the way Larkin gets his birds.
C01 1420  3       He doesn't think that potting them from a deck chair
C01 1430  1    on the south side of the house with a quart glass of
C01 1430 13    beer for sustenance is entirely sporting. But the brigadier
C01 1440  7    dines on the birds with relish.
C01 1460  1       IT is truly odd and ironic that the most handsome
C01 1460 11    and impressive film yet made from Miguel de Cervantes'
C01 1470  8    "Don Quixote" is the brilliant Russian spectacle, done
C01 1480  7    in wide screen and color, which opened yesterday at
C01 1490  5    the Fifty-fifth Street and Sixty-eighth Street Playhouses.
C01 1500  2       More than a beautiful visualization of the illustrious
C01 1510  2    adventures and escapades of the tragi-comic knight-errant
C01 1520  1    and his squire, Sancho Panza, in seventeenth-century
C01 1520  9    Spain, this inevitably abbreviated rendering of the
C01 1530  5    classic satire on chivalry is an affectingly warm and
C01 1540  4    human exposition of character.
C01 1540  8    #@#
C01 1540  9    Nikolai Cherkasov, the Russian actor who has played
C01 1550  8    such heroic roles as Alexander Nevsky and Ivan the
C01 1560  5    Terrible, performs the lanky Don Quixote, and does
C01 1570  3    so with a simple dignity that bridges the inner nobility
C01 1580  1    and the surface absurdity of this poignant man.
C01 1580  9       His addle-brained knight-errant, self-appointed
C01 1590  5    to the ridiculous position in an age when armor had
C01 1600  5    already been relegated to museums and the chivalrous
C01 1610  1    code of knight-errantry had become a joke, is, as Cervantes
C01 1610 12    no doubt intended, a gaunt but gracious symbol of good,
C01 1620  9    moving soberly and sincerely in a world of cynics,
C01 1630  6    hypocrites and rogues.
C01 1630  9       Cherkasov does not caricature him, as some actors
C01 1640  8    have been inclined to do. He treats this deep-eyed,
C01 1650  5    bearded, bony crackpot with tangible affection and
C01 1660  2    respect. Directed by Grigory Kozintsev in a tempo that
C01 1660 11    is studiously slow, he develops a sense of a high tradition
C01 1680 10    shining brightly and passing gravely through an impious
C01 1690  6    world.
C01 1690  7       The complexities of communication have been considerably
C01 1700  6    abetted in this case by appropriately stilted English
C01 1710  3    language that has been excellently dubbed in place
C01 1720  2    of the Russian dialogue. The voices of all the characters,
C01 1720 12    including that of Cherkasov, have richness, roughness
C01 1730  7    or color to conform with the personalities. And the
C01 1740  6    subtleties of the dialogue are most helpfully conveyed.
C01 1750  3    Since Russian was being spoken instead of Spanish,
C01 1760  1    there is no violation of artistry or logic here.
C01 1760 10       Splendid, too, is the performance of Yuri Tolubeyev,
C01 1770  8    one of Russia's leading comedians, as Sancho Panza,
C01 1780  5    the fat, grotesque "squire". Though his character is
C01 1790  4    broader and more comically rounded than the don, he
C01 1800  2    gives it a firmness and toughness- a sort of peasant
C01 1800 12    dignity- too. It is really as though the Russians have
C01 1810 10    seen in this character the oftentimes underlying vitality
C01 1820  4    and courage of supposed buffoons.
C01 1830  1       The episode in which Sancho Panza concludes the
C01 1830  9    joke that is played on him when he is facetiously put
C01 1840  8    in command of an "island" is one of the best in the
C01 1850  7    film.
C01 1850  8    #@#
C01 1850  9    True, the pattern and flow of the drama have strong
C01 1860  5    literary qualities that are a bit wearisome in the
C01 1870  2    first half, before Don Quixote goes to the duke's court.
C01 1870 12    But strength and poignancy develop thenceforth, and
C01 1880  7    the windmill and deathbed episodes gather the threads
C01 1890  5    of realization of the wonderfulness of the old boy.
C01 1900  4       There are other good representations of peasants
C01 1910  1    and people of the court by actors who are finely costumed
C01 1910 12    and magnificently photographed in this last of the
C01 1920  7    Russian films to reach this country in the program
C01 1930  5    of joint cultural exchange.
C01 1930  9       Also on the bill at the Fifty-fifth Street is a
C01 1940  9    nice ten-minute color film called "Sunday in Greenwich
C01 1950  4    Village", a tour of the haunts and joints.
C02 0010  1       Television has yet to work out a living arrangement
C02 0010 10    with jazz, which comes to the medium more as an uneasy
C02 0020 10    guest than as a relaxed member of the family.
C02 0030  4       There seems to be an unfortunate assumption that
C02 0040  2    an hour of Chicago-style jazz in prime evening time,
C02 0040 12    for example, could not be justified without the trimmings
C02 0050  8    of a portentous documentary. At least this seemed to
C02 0060  6    be the working hypothesis for "Chicago and All That
C02 0070  4    Jazz", presented on ~NBC-~TV Nov& 26.
C02 0080  2       The program came out of the ~NBC Special Projects
C02 0080 11    department, and was slotted in the Du Pont Show of
C02 0090 10    the Week series. Perhaps Special Projects necessarily
C02 0100  5    thinks along documentary lines. If so, it might be
C02 0110  6    worth while to assign a future jazz show to a different
C02 0120  1    department- one with enough confidence in the musical
C02 0120  8    material to cut down on the number of performers and
C02 0130 10    give them a little room to display their talents.
C02 0140  5       As a matter of fact, this latter approach has already
C02 0150  3    been tried, and with pleasing results. A few years
C02 0155  1    ago a "Timex All-Star zz Show" offered a broad range
C02 0-160 10    of styles, ranging from Lionel Hampton's big band to
C02 0170  8    the free-wheeling Dukes of Dixieland. An enthusiastic
C02 0180  6    audience confirmed the "live" character of the hour,
C02 0190  5    and provided the interaction between musician and hearer
C02 0200  3    which almost always seems to improve the quality of
C02 0200 12    performance.
C02 0210  1       About that same time John Crosby's ~TV series on
C02 0220  2    the popular arts proved again that giving jazz ample
C02 0220 11    breathing space is one of the most sensible things
C02 0230  8    a producer can do. In an hour remembered for its almost
C02 0240  4    rudderless movement, a score of jazz luminaries went
C02 0250  2    before the cameras for lengthy periods. The program
C02 0250 10    had been arranged to permit the establishment of a
C02 0260  7    mood of intense concentration on the music. Cameras
C02 0270  5    stared at soloists' faces in extreme closeups, then
C02 0280  2    considerately pulled back for full views of ensemble
C02 0280 10    work.
C02 0290  1       "Chicago and All That Jazz" could not be faulted
C02 0290 10    on the choice of artists. Some of the in-person performers
C02 0300  9    were Jack Teagarden, Gene Krupa, Bud Freeman, Pee Wee
C02 0310  7    Russell, Johnny St& Cyr, Joe Sullivan, Red Allen, Lil
C02 0320  6    Armstrong, Blossom Seeley. The jazz buff could hardly
C02 0330  5    ask for more.
C02 0330  8       Furthermore, Garry Moore makes an ideal master of
C02 0340  6    ceremonies. (He played host at the Timex show already
C02 0350  3    mentioned.)
C02 0350  4       One of the script's big problems was how to blend
C02 0360  5    pictures and music of the past with live performances
C02 0370  1    by musicians of today. ~NBC had gathered a lot of historical
C02 0370 12    material which it was eager to share. For example,
C02 0380  9    there was sheet music with the word "jazz" in the title,
C02 0400  1    to illustrate how a word of uncertain origin took hold.
C02 0400 11    Samples soomed into closeup range in regular succession,
C02 0410  8    like telephone poles passing on the highway, while
C02 0420  6    representative music reinforced the mood of the late
C02 0430  4    teens and 1920's.
C02 0430  7       However well chosen and cleverly arranged, such
C02 0440  3    memorabilia unfortunately amounted to more of an interruption
C02 0450  2    than an auxiliary to the evening's main business, which
C02 0460  1    (considering the talent at hand) should probably have
C02 0460  9    been the gathering of fresh samples of the Chicago
C02 0470  7    style.
C02 0470  8       Another source of ~NBC pride was its rare film clip
C02 0480  8    of Bix Beiderbecke, but this view of the great trumpeter
C02 0490  6    flew by so fast that a prolonged wink would have blotted
C02 0500  3    out the entire glimpse. Similarly, in presenting still
C02 0510  1    photographs of early jazz groups, the program allowed
C02 0510  9    no time for a close perusal.
C02 0520  3       "Chicago and All That Jazz" may have wound up satisfying
C02 0530  3    neither the confirmed fan nor the inquisitive newcomer.
C02 0540  1    By trying to be both a serious survey of a bygone era
C02 0540 13    and a showcase for today's artists, the program turned
C02 0550  7    out to be a not-quite-perfect example of either. Still,
C02 0560  5    the network's willingness to experiment in this musical
C02 0570  4    field is to be commended, and future essays happily
C02 0580  1    anticipated.
C02 0590  1       Even Joan Sutherland may not have anticipated the
C02 0590  9    tremendous reception she received from the Metropolitan
C02 0600  7    Opera audience attending her debut as Lucia in Donizetti's
C02 0610  7    "Lucia di Lammermoor" Sunday night.
C02 0620  2       The crowd staged its own mad scene in salvos of
C02 0630  1    cheers and applause and finally a standing ovation
C02 0630  9    as Miss Sutherland took curtain call after curtain
C02 0640  6    call following a fantastic "Mad Scene" created on her
C02 0650  5    own and with the help of the composer and the other
C02 0660  2    performers.
C02 0660  3       Her entrance in Scene 2, Act 1, brought some disconcerting
C02 0670  2    applause even before she had sung a note. Thereafter
C02 0680  1    the audience waxed applause-happy, but discriminating
C02 0680  8    operagoers reserved judgment as her singing showed
C02 0690  6    signs of strain, her musicianship some questionable
C02 0700  3    procedure and her acting uncomfortable stylization.
C02 0720  1    As she gained composure during the second act, her
C02 0720 10    technical resourcefulness emerged stronger, though
C02 0730  4    she had already revealed a trill almost unprecedented
C02 0740  2    in years of performances of "Lucia". She topped the
C02 0750  2    sextet brilliantly.
C02 0750  4       Each high note had the crowd in ecstasy so that
C02 0760  3    it stopped the show midway in the "Mad Scene", but
C02 0760 13    the real reason was a realization of the extraordinary
C02 0770  9    performance unfolding at the moment. Miss Sutherland
C02 0780  6    appeared almost as another person in this scene: A
C02 0790  5    much more girlish Lucia, a sensational coloratura who
C02 0800  2    ran across stage while singing, and an actress immersed
C02 0800 11    in her role. What followed the outburst brought almost
C02 0810  8    breathless silence as Miss Sutherland revealed her
C02 0820  5    mastery of a voice probably unique among sopranos today.
C02 0830  3       This big, flexible voice with uncommon range has
C02 0840  2    been superbly disciplined. Nervousness at the start
C02 0840  9    must have caused the blemishes of her first scene,
C02 0850  7    or she may warm up slowly. In the fullness of her vocal
C02 0860  6    splendor, however, she could sing the famous scene
C02 0870  2    magnificently.
C02 0870  3       Technically it was fascinating, aurally spell-binding,
C02 0880  3    and dramatically quite realistic. Many years have passed
C02 0890  1    since a Metropolitan audience heard anything comparable.
C02 0890  8    Her debut over, perhaps the earlier scenes will emerge
C02 0900  8    equally fine.
C02 0910  1       The performance also marked the debut of a most
C02 0910  9    promising young conductor, Silvio Varviso. He injected
C02 0920  5    more vitality into the score than it has revealed in
C02 0930  5    many years. He may respect too much the Italian tradition
C02 0940  1    of letting singers hold on to their notes, but to restrain
C02 0940 12    them in a singers' opera may be quite difficult.
C02 0950  9       Richard Tucker sang Edgardo in glorious voice. His
C02 0960  7    bel canto style gave the performance a special distinction.
C02 0970  4    The remainder of the cast fulfilled its assignments
C02 0980  2    no more than satisfactorily just as the old production
C02 0980 11    and limited stage direction proved only serviceable.
C02 0990  7       Miss Sutherland first sang Lucia at Covent Garden
C02 1000  7    in 1959. (The first Metropolitan Opera broadcast on
C02 1010  4    Dec& 9 will introduce her as Lucia.) She has since
C02 1020  3    turned to Bellini, whose opera "Beatrice di Tenda"
C02 1030  1    in a concert version with the American Opera Society
C02 1030 10    introduced her to New York last season. She will sing
C02 1040  9    "La Sonambula" with it here next week.
C02 1060  1       Anyone for musical Ping-pong?
C02 1060  6       It's really quite fun- as long as you like games.
C02 1070  9    You will need a stereo music system, with speakers
C02 1080  3    preferably placed at least seven or eight feet apart,
C02 1080 12    and one or more of the new London "Phase 4" records.
C02 1090 11    There are 12 of these to choose from, all of them of
C02 1100 10    popular music except for the star release, Pass in
C02 1110  5    Review (~SP-44001). This features the marching songs
C02 1120  4    of several nations, recorded as though the various
C02 1130  1    national bands were marching by your reviewing stand.
C02 1130  9    Complete with crowd effects, interruptions by jet planes,
C02 1140  7    and sundry other touches of realism, this disc displays
C02 1150  5    London's new technique to the best effect.
C02 1160  1       All of the jackets carry a fairly technical and
C02 1160 10    detailed explanation of this new recording program.
C02 1170  7    No reference is made to the possibility of recording
C02 1180  4    other than popular music in this manner, and it would
C02 1190  3    not seem to lend itself well to serious music. Directionality
C02 1200  1    is greatly exaggerated most of the time; but when the
C02 1200 11    sounds of the two speakers are allowed to mix, there
C02 1210  9    is excellent depth and dimension to the music. You
C02 1220  5    definitely hear some of the instruments close up and
C02 1230  3    others farther back, with the difference in placement
C02 1230 11    apparently more distinct than would result from the
C02 1240  8    nearer instruments merely being louder than the ones
C02 1250  6    farther back. This is a characteristic of good stereo
C02 1260  3    recording and one of its tremendous advantages over
C02 1260 11    monaural sound.
C02 1270  2       London explains that the very distinct directional
C02 1280  1    effect in the Phase 4 series is due in large part to
C02 1280 13    their novel methods of microphoning and recording the
C02 1290  6    music on a number of separate tape channels. These
C02 1300  3    are then mixed by their sound engineers with the active
C02 1310  1    co-operation of the musical staff and combined into
C02 1310 10    the final two channels which are impressed on the record.
C02 1320  8    In some of the numbers the instrumental parts have
C02 1330  5    even been recorded at different times and then later
C02 1340  3    combined on the master tape to produce special effects.
C02 1350  1       Some clue to the character of London's approach
C02 1350  9    in these discs may be gained immediately from the fact
C02 1360  8    that ten of the 12 titles include the word "percussion"
C02 1370  4    or "percussive". Drums, xylophones, castanets, and
C02 1380  3    other percussive instruments are reproduced remarkably
C02 1390  1    well. Only too often, however, you have the feeling
C02 1390 10    that you are sitting in a room with some of the instruments
C02 1400  9    lined up on one wall to your left and others facing
C02 1410  5    them on the wall to your right. They are definitely
C02 1420  1    in the same room with you, but your head starts to
C02 1420 12    swing as though you were sitting on the very edge of
C02 1430 10    a tennis court watching a spirited volley.
C02 1440  3       The Percussive Twenties (~SP-44006) stirs pleasant
C02 1450  3    memories with well-known songs of that day, and Johnny
C02 1460  1    Keating's Kombo gives forth with tingling jazz in Percussive
C02 1470  1    Moods (~SP-44005). Big Band Percussion (~SP-44002)
C02 1480  1    seemed one of the least attractive discs- the arrangements
C02 1480 10    just didn't have so much character as the others.
C02 1490  9       There is an extraordinary sense of presence in all
C02 1500  6    of these recordings, apparently obtained at least in
C02 1510  4    part by emphasizing the middle and high frequencies.
C02 1520  1    The penalty for this is noticeable in the big, bold,
C02 1520 11    brilliant, but brassy piano sounds in Melody and Percussion
C02 1530  9    for Two Pianos (~SP-44007). All of the releases, however,
C02 1540  8    are recorded at a gratifyingly high level, with resultant
C02 1550  6    masking of any surface noise. Pass in Review practically
C02 1560  5    guarantees enjoyment, and is a dramatic demonstration
C02 1570  2    of the potentialities of any stereo music system.
C02 1580  1       Many Hollywood films manage somehow to be authentic,
C02 1580  9    but not realistic.
C02 1590  2       Strange, but true- authenticity and realism often
C02 1610  1    aren't related at all.
C02 1610  5       Almost every film bearing the imprimatur of Hollywood
C02 1620  3    is physically authentic- in fact, impeccably so. In
C02 1630  1    any given period piece the costumes, bric-a-brac, vehicles,
C02 1630 11    and decor, bear the stamp of unimpeachable authenticity.
C02 1640  7       The major studios maintain a cadre of film librarians
C02 1650  7    and research specialists who look to this matter. During
C02 1660  6    the making recently of an important Biblical film,
C02 1670  2    some 40 volumes of research material and sketches not
C02 1670 11    only of costumes and interiors, but of architectural
C02 1680  8    developments, sports arenas, vehicles, and other paraphernalia
C02 1690  6    were compiled, consulted, and complied with.
C02 1700  3       But, alas, the authenticity seems to stop at the
C02 1710  2    set's edge. The drama itself- and this seems to be
C02 1710 12    lavishly true of Biblical drama- often has hardly any
C02 1720  8    relationship with authenticity at all. The storyline,
C02 1730  5    in sort, is wildly unrealistic.
C02 1740  1       Thus, in "The Story of Ruth" we have Ruth, Naomi,
C02 1740 10    and Boaz and sets that are meticulously authentic.
C02 1750  7    But except for a vague adherence to the basic storyline-
C02 1760  5    i&e&, that Ruth remained with Naomi and finally wound
C02 1770  4    up with Boaz- the film version has little to do with
C02 1780  3    the Bible.
C02 1780  5       And in the new "King of Kings" the plot involves
C02 1790  3    intrigues and twists and turns that cannot be traced
C02 1790 12    to the Gospels.
C02 1800  3       Earlier this month Edward R& Murrow, director of
C02 1810  2    the United States Information Agency, came to Hollywood
C02 1810 10    and had dinner with more than 100 leaders of the motion
C02 1820 11    picture industry.
C02 1830  1       He talked about unauthentic storylines too. He intimated
C02 1830  9    that they weren't doing the country much good in the
C02 1840 10    Cold War. And to an industry that prides itself on
C02 1850  8    authenticity, he urged greater realism.
C02 1860  1       "in many corners of the globe", he said, "the major
C02 1870  1    source of impressions about this country are in the
C02 1870 10    movies they meet. Would we want a future-day Gibbon
C02 1880  8    or Macaulay recounting the saga of America with movies
C02 1890  5    as his prime source of knowledge? Yet for much of the
C02 1900  4    globe, Hollywood is just that- prime, if not sole,
C02 1900 13    source of knowledge. If a man totally ignorant of America
C02 1910 10    were to judge our land and its civilization based on
C02 1920  8    Hollywood alone, what conclusions do you think he might
C02 1930  6    come to?
C03 0010  1       Francois D'Albert, Hungarian-born violinist who
C03 0010  7    made his New York debut three years ago, played a return
C03 0020 10    engagement last night in Judson Hall. He is now president
C03 0030  8    of the Chicago Conservatory College. His pianist was
C03 0040  5    Donald Jenni, a faculty member at DePaul University.
C03 0050  2       The acoustics of the small hall had been misgauged
C03 0060  1    by the artists, so that for the first half of the program,
C03 0060 13    when the piano was partially open, Mr& Jenni's playing
C03 0070  8    was too loud. In vying with him, Mr& D'Albert also
C03 0080  7    seemed to be overdriving his tone.
C03 0090  2       This was not an overriding drawback to enjoyment
C03 0090 10    of the performances, however, except in the case of
C03 0100  8    the opening work, Mozart's Sonata in ~A (K& 526), which
C03 0110  7    clattered along noisily in an unrelieved fashion.
C03 0120  4       Brahm's Sonata in ~A, although also vigorous, stood
C03 0130  3    up well under the two artists' strong, large-scale
C03 0140  1    treatment. Mr& D'Albert has a firm, attractive tone,
C03 0140  9    which eschews an overly sweet vibrato. He made the
C03 0150  8    most of the long Brahmsian phrases, and by the directness
C03 0160  6    and drive of his playing gave the work a handsome performance.
C03 0170  4       A Sonata for Violin and Piano, called "Bella Bella",
C03 0180  3    by Robert Fleming, was given its first United States
C03 0190  2    performance. The title refers to the nickname given
C03 0190 10    his wife by the composer, who is also a member of the
C03 0200 12    National Film Board of Canada. The work's two movements,
C03 0210  7    one melodically sentimental, the other brightly capricious,
C03 0220  5    are clever enough in a Ravel-like style, but they rehash
C03 0230  5    a wornout idiom. They might well indicate conjugal
C03 0240  1    felicity, but in musical terms that smack of Hollywood.
C03 0250  1       Works by Dohnanyi, Hubay, Mr& D'Albert himself and
C03 0250  8    Paganini, indicated that the violinist had some virtuoso
C03 0260  8    fireworks up his sleeve as well as a reserved attitude
C03 0270  7    toward a lyric phrase. Standard items by Sarasate and
C03 0280  4    Saint-Saens completed the program. @
C03 0290  1       IN recent years Anna Xydis has played with the New
C03 0290 11    York Philharmonic and at Lewisohn Stadium, but her
C03 0300  8    program last night at Town Hall was the Greek-born
C03 0310  8    pianist's first New York recital since 1948.
C03 0320  3       Miss Xydis has a natural affinity for the keyboard,
C03 0330  1    and in the twenty years since her debut here she has
C03 0330 12    gained the authority and inner assurance that lead
C03 0340  7    to audience control. And the tone she commands is always
C03 0350  6    beautiful in sound.
C03 0350  9       Since she also has considerable technical virtuosity
C03 0360  5    and a feeling for music in the romantic tradition,
C03 0370  3    Miss Xydis gave her listeners a good deal of pleasure.
C03 0380  1    She played with style and a touch of the grand manner,
C03 0380 12    and every piece she performed was especially effective
C03 0390  7    in its closing measures.
C03 0400  1       The second half of her program was devoted to Russian
C03 0400 11    composers of this century. It was in them that Miss
C03 0410 10    Xydis was at her best. The Rachmaninoff Prelude No&
C03 0420  5    12, Op& 32, for instance, gave her an opportunity to
C03 0430  5    exploit one of her special facilities- the ability
C03 0440  2    to produce fine deep-sounding bass tones while contrasting
C03 0440 11    them simultaneously with fine silver filagree in the
C03 0450  8    treble.
C03 0450  9       The four Kabalevsky Preludes were also assured,
C03 0460  7    rich in color and songful. And the Prokofieff Seventh
C03 0470  5    Sonata had the combination of romanticism and modern
C03 0480  3    bravura that Prokofieff needs.
C03 0480  7       Miss Xydis' earlier selections were Mendelssohn's
C03 0500  5    Variations Serieuses, in which each variation was nicely
C03 0510  5    set off from the others; Haydn's Sonata in ~E minor,
C03 0520  4    which was unfailingly pleasant in sound, and Chopin's
C03 0530  1    Sonata in ~B flat minor. A memory lapse in the last
C03 0530 12    somewhat marred the pianist's performance. So what
C03 0540  7    was the deepest music on her program had the poorest
C03 0550  7    showing. Miss Xydis was best when she did not need
C03 0560  5    to be too probing.
C03 0570  1       ALL the generals who held important commands in
C03 0570  9    World War /2, did not write books. It only seems as
C03 0580 10    if they did. And the best books by generals were not
C03 0590  7    necessarily the first ones written. One of the very
C03 0600  4    best is only now published in this country, five years
C03 0610  1    after its first publication in England. It is "Defeat
C03 0610 10    Into Victory", by Field Marshal Viscount Slim.
C03 0620  6       A long book heavily weighted with military technicalities,
C03 0630  5    in this edition it is neither so long nor so technical
C03 0640  6    as it was originally. Field Marshal Slim has abridged
C03 0650  3    it for the benefit of "those who, finding not so great
C03 0660  1    an attraction in accounts of military moves and counter-moves,
C03 0660 11    are more interested in men and their reactions to stress,
C03 0670  9    hardship and danger". The man whose reactions and conclusions
C03 0680  7    get the most space is, of course, the Field Marshal
C03 0690  5    himself.
C03 0690  6       William Joseph Slim, First Viscount Slim, former
C03 0700  5    Governor General of Australia, was the principal British
C03 0710  3    commander in the field during the Burma War. He had
C03 0720  2    been a corps commander during the disastrous defeat
C03 0720 10    and retreat of 1942 when the ill-prepared, ill-equipped
C03 0730  9    British forces "were outmaneuvered, outfought and outgeneraled".
C03 0740  4    He returned in command of an international army of
C03 0750  5    Gurkhas, Indians, Africans, Chinese and British. And
C03 0760  3    in a series of bitterly fought battles in the jungles
C03 0770  1    and hills and along the great rivers of Burma he waged
C03 0770 12    one of the most brilliant campaigns of the war. "The
C03 0780  7    Forgotten War" his soldiers called the Burma fighting
C03 0790  5    because the war in Africa and Europe enjoyed priorities
C03 0800  3    in equipment and in headlines.
C03 0800  8       Parts of "Defeat Into Victory" are a tangle of Burmese
C03 0810  8    place names and military units, but a little application
C03 0820  6    makes everything clear enough. On the whole this is
C03 0830  5    an interesting and exceptionally well-written book.
C03 0840  1    Field Marshal Slim is striking in description, amusing
C03 0840  9    in many anecdotes. He has a pleasant sense of humor
C03 0850  8    and is modest enough to admit mistakes and even "a
C03 0860  5    cardinal error". He praises many individuals generously.
C03 0870  2    He himself seems to be tough, tireless, able and intelligent,
C03 0880  1    more intellectual and self-critical than most soldiers.
C03 0880  9    #REMAKING AN ARMY TO WIN#
C03 0890  5    "Defeat Into Victory" is a dramatic and lively military
C03 0900  4    narrative. But it is most interesting in its account
C03 0920  1    of the unending problems of high command, of decisions
C03 0920 10    and their reasons, of the myriad matters that demand
C03 0930  8    attention in addition to battle action.
C03 0940  2       Before he could return to Burma, Field Marshal Slim
C03 0950  2    had to rally the defeated remnants of a discouraged
C03 0950 11    army and unite them with fresh recruits. His remarks
C03 0960  7    about training, discipline, morale, leadership and
C03 0970  4    command are enlightening. He believed in making inspiring
C03 0980  2    speeches and he made a great many. He believed in being
C03 0990  1    seen near the front lines and he was there. For general
C03 0990 12    morale reasons and to encourage the efforts of his
C03 1000  8    supply officers, when food was short for combat troops
C03 1010  5    he cut the rations of his headquarters staff accordingly.
C03 1020  1       Other crucial matters required constant supervision:
C03 1030  1    labor and all noncombatant troops, whose morale was
C03 1030  9    vital, too; administrative organization and delicate
C03 1040  5    diplomatic relations with Top Brass- British, American
C03 1050  5    and Chinese; health, hygiene, medical aid and preventive
C03 1060  4    medicine; hospitals (inadequate) and nurses (scanty);
C03 1070  2    food and military supplies; logistics and transport;
C03 1080  1    airdrops and airstrips; roads and river barges to be
C03 1080 10    built.
C03 1080 11    #EXPECTED OF A COMMANDER#
C03 1090  4    Commenting on these and other matters, Field Marshal
C03 1100  2    Slim makes many frank and provocative remarks:
C03 1100  9       "When in doubt as to two courses of action, a general
C03 1110 11    should choose the bolder".
C03 1120  2       "The commander has failed in his duty if he has
C03 1130  2    not won victory- for that is his duty".
C03 1130 10       "It only does harm to talk to troops about new and
C03 1140 10    desirable equipment which others may have but which
C03 1150  6    you cannot give them. It depresses them. So I made
C03 1160  3    no mention of air transport until we could get at least
C03 1160 14    some of it".
C03 1170  3       Field Marshal Slim is more impressed by the courage
C03 1180  1    of Japanese soldiers than he is by the ability of their
C03 1180 12    commanders. Of the Japanese private he says: "He fought
C03 1190  9    and marched till he died. If 500 Japanese were ordered
C03 1200  8    to hold a position, we had to kill 495 before it was
C03 1210  6    ours- and then the last five killed themselves".
C03 1220  1       Brooding about future wars, the Field Marshal has
C03 1220  9    this to say: "The Asian fighting man is at least equally
C03 1230 11    brave [as the white], usually more careless of death,
C03 1240  8    less encumbered by mental doubts, less troubled by
C03 1250  5    humanitarian sentiment, and not so moved by slaughter
C03 1260  2    and mutilation around him. He is, by background and
C03 1260 11    living standards, better fitted to endure hardship
C03 1270  7    uncomplainingly, to demand less in the way of subsistence
C03 1280  7    or comfort, and to look after himself when thrown on
C03 1290  4    his own resources".
C03 1300  1       A bunch of young buckaroos from out West, who go
C03 1300 11    by the name of Texas Boys Choir, loped into Town Hall
C03 1310  9    last night and succeeded in corralling the hearts of
C03 1320  6    a sizable audience.
C03 1320  9       Actually, the program they sang was at least two-thirds
C03 1330  9    serious and high-minded, and they sang it beautifully.
C03 1340  6    Under the capable direction of the choir's founder,
C03 1350  2    Geroge Bragg, the twenty-six boys made some lovely
C03 1350 11    sounds in an opening group of Renaissance and baroque
C03 1360  9    madrigals and motets, excerpts from Pergolesi's "Stabat
C03 1370  5    Mater" and all of the Britten "Ceremonial of Carols".
C03 1380  5       Their singing was well-balanced, clear and, within
C03 1390  4    obvious limitations, extremely pleasing. The limitations
C03 1400  2    are those one expects from untrained and unsettled
C03 1400 10    voices- an occasional shrillness of almost earsplitting
C03 1410  9    intensity, an occasional waver and now and then a bleat.
C03 1420  8       But Mr& Bragg is a remarkably gifted conductor,
C03 1430  5    and the results he has produced with his boys are generally
C03 1440  5    superior. Most surprising of all, he has accomplished
C03 1450  1    some prodigies in training for the production of words.
C03 1450 10    The Latin, for example, was not only clear; it was
C03 1460  9    even beautiful.
C03 1470  1       Furthermore, there were solid musical virtues in
C03 1470  8    the interpretation of the music. Lines came out neatly
C03 1480  8    and in good balance. Tempos were lively. The piano
C03 1490  4    accompaniments by Istvan Szelenyi were stylish.
C03 1500  1       A boy soprano named Dixon Boyd sang a Durante solo
C03 1500 11    motet and a few other passages enchantingly. Other
C03 1510  7    capable soloists included David Clifton, Joseph Schockler
C03 1520  5    and Pat Thompson.
C03 1520  8       The final group included folk songs from back home,
C03 1530  8    stomped out, shouted and chanted with irresistible
C03 1540  4    spirit and in cowboy costume. Boys will be boys, and
C03 1550  3    Texans will be Texans. The combination proved quite
C03 1550 11    irresistible last night. @
C03 1570  1       THE Polish song and dance company called Mazowsze,
C03 1570  9    after the region of Poland, where it has its headquarters,
C03 1580 10    opened a three-week engagement at the City Center last
C03 1590  7    night. A thoroughly ingratiating company it is, and
C03 1600  5    when the final curtain falls you may suddenly realize
C03 1610  2    that you have been sitting with a broad grin on your
C03 1610 13    face all evening.
C03 1620  2       Not that it is all funny, by any means, though some
C03 1630  1    of it is definitely so, but simply that the dancers
C03 1630 11    are young and handsome, high-spirited and communicative,
C03 1640  5    and the program itself is as vivacious as it is varied.
C03 1650  5    There is no use at all in trying to follow it dance
C03 1660  3    by dance and title by title, for it has a kind of nonstop
C03 1660 16    format, and moves along in an admirable continuity
C03 1670  8    that demands no pauses for identification.
C03 1680  3       The material is all basically of folk origin, gleaned
C03 1690  2    from every section of Poland. But under the direction
C03 1690 11    of Mira Ziminska-Sygietynska, who with her late husband
C03 1700  9    founded the organization in 1948, it has all been put
C03 1710  9    into theatrical form, treated selectively, choreographed
C03 1720  3    specifically for presentation to spectators, and performed
C03 1730  3    altogether professionally. Under the surface of the
C03 1740  1    wide range of folk movements is apparent a sound technical
C03 1740 11    ballet training, and an equally professional sense
C03 1750  6    of performing.
C03 1750  8    #@#
C03 1750  9    Since the organization was created thirteen years ago,
C03 1760  8    it is obvious that this is not the original company;
C03 1770  7    it is more likely the sons and daughters of that company.
C03 1780  4    The girls are charming children and the men are wonderfully
C03 1790  3    vital and engaging youngsters. The stage is constantly
C03 1800  1    full of them; indeed, there are never fewer than eight
C03 1800 11    of them on stage, and that is only for the more intimate
C03 1810 10    numbers. They can be exuberant or sentimental, flirtatious
C03 1820  4    or funny, but the only thing they seem unable to be
C03 1830  5    is dull.
C03 1830  7       To pick out particular numbers is something of a
C03 1840  4    problem, but one or two identifiable items are too
C03 1840 13    conspicuously excellent to be missed. There is for
C03 1850  8    example, a stunning Krakowiak that closes the first
C03 1860  5    act; the mazurka choreographed by Witold Zapala to
C03 1870  3    music from Moniuszko's opera, "Strasny Dwor', may be
C03 1880  3    the most beautiful mazurka you are likely ever to see;
C03 1880 13    there is an enchanting polonaise; and the dances and
C03 1890  9    songs from the Tatras contain a magnificent dance for
C03 1900  6    the men.
C03 1900  8       Everywhere there are little touches of humor, and
C03 1910  6    the leader of the on-stage band of musicians is an
C03 1920  3    ebullient comedian who plays all sorts of odd instruments
C03 1930  1    with winning warmth.
C04 0010  1       The THEATRE-BY-THE-SEA, Matunuck, presents "King
C04 0020  1    of Hearts" by Jean Kerr and Eleanor Brooke. Directed
C04 0030  9    by Michael Murray; settings by William David Roberts.
C04 0040  7    The cast: @
C04 0050  1       Producer John Holmes has chosen a delightful comedy
C04 0050  9    for his season's opener at Matunuck in Jean Kerr's
C04 0060  7    "King of Hearts".
C04 0070  1       The dialogue is sharp, witty and candid- typical
C04 0070  9    "don't eat the daisies" material- which has stamped
C04 0080  7    the author throughout her books and plays, and it was
C04 0090  7    obvious that the Theatre-by-the-Sea audience liked
C04 0100  2    it.
C04 0100  3       The story is of a famous strip cartoonist, an arty
C04 0110  2    individual, whose specialty is the American boy and
C04 0110 10    who adopts a 10-year-old to provide him with fresh
C04 0120 10    idea material.
C04 0120 12       This is when his troubles begin, not to mention
C04 0130  8    a fiedgling artist who he hires, and who turns out
C04 0140  5    to have ideas of his own, with particular respect to
C04 0150  2    the hero's sweetheart-secretary.
C04 0150  6       John Heffernan, playing Larry Larkin, the cartoonist,
C04 0160  5    carries the show in marvelous fashion. His portrayal
C04 0170  3    of an edgy head-in-the-clouds artist is virtually flawless.
C04 0180  1       This may be unfortunate, perhaps, from the standpoint
C04 0190  1    of David Hedison, Providence's contribution to Hollywood,
C04 0190  8    who is appearing by special arrangement with 20th Century-Fox.
C04 0200  9    Not that Mr& Hedison does not make the most of his
C04 0210 10    role. He does, and more. But the book is written around
C04 0220  7    a somewhat dizzy cartoonist, and it has to be that
C04 0230  5    way.
C04 0230  6       A word should be said for Gary Morgan, a Broadway
C04 0240  2    youngsters who, as the adopted son, makes life miserable
C04 0240 11    for nearly everybody and Larkin in particular. And
C04 0250  8    for his playmate, Francis Coletta of West Warwick,
C04 0260  5    who has a bit part, Billy.
C04 0270  1       On the whole, audiences will like this performance.
C04 0270  8    It is a tremendous book, lively, constantly moving,
C04 0280  5    and the Matunuck cast does well by it.
C04 0300  1       The NEWPORT PLAYHOUSE presents "EPITAPH FOR GEORGE
C04 0310  2    DILLON" by John Osborne and Anthony Creighton, directed
C04 0320  8    by Wallace Gray.
C04 0330  2       The cast: @
C04 0330  5       The angriest young man in Newport last night was
C04 0340  5    at the Playhouse, where "Epitaph for George Dillon"
C04 0350  2    opened as the jazz festival closed.
C04 0350  8       For the hero of this work by John Osborne and Anthony
C04 0360  9    Creighton is a chap embittered by more than the lack
C04 0370  6    of beer during a jam session. He's mad at a world he
C04 0380  5    did not make.
C04 0380  8       Furthermore, he's something of a scoundrel, an artist
C04 0390  5    whose mind and feelings are all finger-tips. This is
C04 0400  3    in contrast to the family with whom he boards. They
C04 0400 13    not only think and feel cliches but live cliches as
C04 0410  9    well.
C04 0410 10       It is into this household, one eroded by irritations
C04 0420  6    that have tortured the souls out of its people, that
C04 0430  6    George Dillon enters at the beginning of the play.
C04 0440  2       An unsuccessful playwright and actor, he has faith
C04 0440 10    only in himself and in a talent he is not sure exists.
C04 0450 12    By the end of the third act, the artist is dead but
C04 0460  8    the body lingers on, a shell among other shells.
C04 0470  2       Not altogether a successful play, "Epitaph for George
C04 0480  2    Dillon" overcomes through sheer vitality and power
C04 0480  9    what in a lesser work might be crippling. It is awfully
C04 0490 10    talky, for instance, and not all of the talk is terribly
C04 0500  9    impressive. But it strikes sparks on occasion and their
C04 0510  5    light causes all else to be forgotten.
C04 0520  1       There is a fine second act, as an example, one in
C04 0520 12    which Samuel Groom, as Dillon, has an opportunity to
C04 0530  7    blaze away in one impassioned passage after another.
C04 0540  3    This is an exciting young actor to watch.
C04 0550  1       Just as exciting but in a more technically proficient
C04 0550 10    way is Laura Stuart, whose complete control of her
C04 0560  6    every movement is lovely to watch. Miss Stuart is as
C04 0570  5    intensely vibrant as one could wish, almost an icy
C04 0580  2    shriek threatening to explode at any moment.
C04 0580  9       Also fine are Sue Lawless, as a mother more protective
C04 0590  8    and belligerent than a female spider and just as destructive,
C04 0600  6    Harold Cherry, as her scratchy spouse, and Hildy Weissman,
C04 0610  5    as a vegetable in human form.
C04 0610 11       Wallace Gray has directed a difficult play here,
C04 0620  8    usually well, but with just a bit too much physical
C04 0630  7    movement in the first act for my taste. Still, his
C04 0640  3    finale is put together with taste and a most sensitive
C04 0640 13    projection of that pale sustenance, despair.
C04 0660  1       The WARWICK MUSICAL THEATER presents "Where's Charley?"
C04 0670  2    with music and lyrics by Frank Loesser, directed by
C04 0680  2    Christopher Hewett, choreography by Peter Conlow, musical
C04 0680  9    direction by Samuel Matlowsky. The cast: @
C04 0690  7       Everybody fell in love with Amy again last night
C04 0700  8    at the Warwick Musical Theater, and Shelley Berman
C04 0710  4    was to blame.
C04 0710  7       One of the finest soft shoe tunes ever invented,
C04 0720  4    "Once in Love with Amy" is also, of course, one of
C04 0730  3    the most tantalizingly persistent of light love lyrics
C04 0730 11    to come out of American musical comedy in our era.
C04 0740  9    So the audience last night was all ears and eyes just
C04 0750  8    after Act /2, got a rousing opening chorus, "Where's
C04 0760  3    Charley?", and Berman sifted out all alone on the stage
C04 0770  4    with the ambling chords and beat of the song just whispering
C04 0780  1    into being.
C04 0780  3       It is greatly to Berman's credit that he made no
C04 0790  3    attempt to outdo Ray Bolger. He dropped his earlier
C04 0790 12    and delightful hamming, which is about the only way
C04 0800  8    to handle the old war horse called "Charley's Aunt",
C04 0810  4    and let himself go with as an appealing an "Amy" as
C04 0820  4    anybody could ask.
C04 0820  7       In brief, Berman played himself and not Bolger.
C04 0830  5    The big audience started applauding even before he
C04 0840  3    had finished.
C04 0840  5       The whole production this week is fresh and lively.
C04 0850  3    The costumes are stunning evocations of the voluminous
C04 0860  1    gowns and picture hats of the Gibson Girl days. The
C04 0860 11    ballet work is on the nose, especially in the opening
C04 0870  9    number by "The New Ashmolean Marching Society and Students'
C04 0880  5    Conservatory Band", along with a fiery and sultry Brazilian
C04 0890  7    fantasia later.
C04 0890  9       Berman, whose fame has rested in recent years on
C04 0900  8    his skills as a night club monologist, proved himself
C04 0910  3    very much at home in musical comedy.
C04 0910 10       Sparrow-size Virginia Gibson, with sparkling blue
C04 0920  6    eyes and a cheerful smile, made a suitably perky Amy,
C04 0930  7    while Melisande Congdon, as the real aunt, was positively
C04 0940  1    monumental in the very best Gibson Girl manner.
C04 0950  1       All told, "Where's Charley?" ought not to be missed.
C04 0960  1    It has a fast pace, excellent music, expert direction,
C04 0960 10    and not only a good comedian, but an appealing person
C04 0970  8    in his own right, Mr& Berman.
C04 0990  1       The Broadway Theater League of Rhode Island presents
C04 0990  9    C& Edwin Knill's and Martin Tahse's production of "FIORELLO!"
C04 1010  1    at Veterans Memorial Auditorium. The book is by Jerome
C04 1020  1    Weidman and George Abbott, music by Jerry Bock, lyrics
C04 1020 10    by Sheldon Harnick, choreography by Peter Gennaro,
C04 1030  6    scenery, costumes and lighting by William and Jean
C04 1040  6    Eckart, musical direction by Jack Elliott, and the
C04 1050  3    production was directed by Mr& Abbott. The cast: @
C04 1060  2       This is one of the happier events of the season.
C04 1070  1       The company which performed the Pulitzer Prize musical
C04 1070  9    here last night and will repeat it twice today is full
C04 1080  9    of bounce, the politicians are in fine voice, the chorines
C04 1090  7    evoke happy memories, and the Little Flower rides to
C04 1100  4    break a lance again.
C04 1100  8       I saw "Fiorello!" performed in New York by the original
C04 1110  8    cast and I think this company is every bit as good,
C04 1120  6    and perhaps better.
C04 1120  9       Certainly in the matter of principals there is nothing
C04 1130  6    lacking. Bob Carroll may not bear quite as close a
C04 1140  5    physical resemblance to LaGuardia as Tom Bosley does,
C04 1150  2    but I was amazed at the way he became more and more
C04 1150 14    Fiorello as the evening progressed, until one had to
C04 1160  9    catch one's self up and remember that this wasn't really
C04 1170  6    LaGuardia come back among us again.
C04 1180  1       Then Rudy Bond was simply grand as Ben, the distraught
C04 1190  1    Republican Party district chieftain. And Paul Lipson,
C04 1190  8    as Morris, the faithful one who never gets home to
C04 1200  9    his Shirley's dinner, was fine, too.
C04 1210  3       As for the ladies, they were full of charm, and
C04 1210 13    sincerity, and deep and abiding affection for this
C04 1220  8    hurrying driving, honest, little man. Charlotte Fairchild
C04 1230  5    was excellent as the loyal Marie, who became the second
C04 1240  5    Mrs& LaGuardia, singing and acting with remarkable
C04 1250  2    conviction. Jen Nelson, as Thea, his first wife, managed
C04 1260  1    to make that short role impressive. And little Zeme
C04 1260 10    North, a Dora with real spirit and verve, was fascinating
C04 1270  8    whether she was singing of her love for Floyd, the
C04 1280  6    cop who becomes sewer commissioner and then is promoted
C04 1290  3    into garbage, or just dancing to display her exuberant
C04 1290 12    feelings.
C04 1300  1       Such fascinating novelties in the score as the fugual
C04 1310  1    treatment of "On the Side of the Angels" and "Politics
C04 1310 11    and Poker" were handled splendidly, and I thought Rudy
C04 1320  8    Bond and his band of tuneful ward-heelers made "Little
C04 1330  7    Tin Box" even better than it was done by the New York
C04 1340  8    cast; all the words of its clever lyrics came through
C04 1350  4    with perfect clarity.
C04 1350  7       The party at Floyd's penthouse gave the "chorines"
C04 1360  5    a chance for a nostalgic frolic through all those hackneyed
C04 1370  5    routines which have become a classic choreographic
C04 1380  1    statement of the era's nonsense.
C04 1380  6       LaGuardia's multi-lingual rallies, when he is running
C04 1390  6    for Congress, are well staged, and wind up in a wild
C04 1400  7    Jewish folk-dance that is really great musical theater.
C04 1410  2       Martin Tahse has established quite a reputation
C04 1410  9    for himself as a successful stager of touring productions.
C04 1420  9    Not a corner has been visibly cut in this one. The
C04 1430  9    sets are remarkably elaborate for a road-show that
C04 1440  6    doesn't pause long in any one place, and they are devised
C04 1450  3    so that they shift with a minimum of interruption or
C04 1450 13    obtrusiveness. (Several times recently I have wondered
C04 1460  7    whether shows were being staged for the sake of the
C04 1470  8    script or just to entertain the audience with the spectacle
C04 1480  4    of scenery being shifted right in front of their eyes.
C04 1490  2    I'm glad to say there's none of that distraction in
C04 1490 12    this "Fiorello!")
C04 1500  2       It has all been done in superb style, and the result
C04 1510  4    is a show which deserves the support of every person
C04 1510 14    hereabouts who enjoys good musical theater.
C04 1530  1       LOEW'S THEATER presents "Where the Boys are", an
C04 1540  2    ~MGM picture produced by Joe Pasternak and directed
C04 1550  1    by Henry Levin from a screenplay by George Wells. The
C04 1550 11    cast: @
C04 1560  1       Since the hero, a sterling and upright fellow, is
C04 1560 10    a rich Brown senior, while two Yalies are cast as virtual
C04 1570  9    rapists, I suppose I should disqualify myself from
C04 1580  6    sitting in judgment on "Where the Boys are", but I
C04 1590  5    shall do nothing of the sort.
C04 1590 11       Instead- and not just to prove my objectivity- I
C04 1600  9    hasten to report that it's a highly amusing film which
C04 1610  6    probably does a fairly accurate job of reporting on
C04 1620  3    the Easter vacation shenanigans of collegians down
C04 1620 10    in Fort Lauderdale, and that it seems to come to grips
C04 1630 10    quite honestly with the moral problem that most commonly
C04 1640  7    vexes youngsters in this age group- that is to say,
C04 1650  7    sex.
C04 1650  8       The answers the girls give struck me as reasonably
C04 1660  4    varied and healthily individual. If most of them weren't
C04 1670  1    exactly specific- well, that's the way it is in life,
C04 1670 11    I guess. But at least it's reassuring to see some teenagers
C04 1680 10    who don't profess to know all the answers and are thinking
C04 1690 10    about their problems instead.
C04 1700  2       "Where the Boys Are" also has a juvenile bounce
C04 1710  1    that makes for a refreshing venture in comedy. There
C04 1710 10    are some sharp and whipping lines and some hilariously
C04 1720  7    funny situations- the best of the latter being a mass
C04 1730  7    impromptu plunge into a nightclub tank where a "mermaid"
C04 1740  3    is performing.
C04 1740  5       Most of the female faces are new, or at least not
C04 1750  6    too familiar. Dolores Hart, is charming in a leading
C04 1760  1    role, and quite believable. I was delighted with Paula
C04 1760 10    Prentiss' comedy performance, which was as fresh and
C04 1770  8    unstilted as one's highest hopes might ask. A couple
C04 1780  7    of the males made good comedy, too- Jim Hutton and
C04 1790  6    Frank Gorshin.
C04 1790  8       The only performance which was too soft for me was
C04 1800  7    that of Yvette Mimieux, but since someone had to become
C04 1810  4    the victim of despoilers, just to emphasize that such
C04 1810 13    things do happen at these fracases, I suppose this
C04 1820  9    was the attitude the part called for. I must say, however,
C04 1830  8    that I preferred the acting that had something of a
C04 1840  5    biting edge to it.
C04 1840  9       To anyone who remembers Newport at its less than
C04 1850  6    maximum violence, this view of what the boys and girls
C04 1860  4    do in the springtime before they wing north for the
C04 1860 14    Jazz Festival ought to prove entertaining.
C04 1870  6       The second feature, "The Price of Silence", is a
C04 1880  7    British detective story that will talk your head off.
C05 0010  1       The superb intellectual and spiritual vitality of
C05 0010  8    William James was never more evident than in his letters.
C05 0020  9    Here was a man with an enormous gift for living as
C05 0030  6    well as thinking. To both persons and ideas he brought
C05 0040  3    the same delighted interest, the same open-minded relish
C05 0050  1    for what was unique in each, the same discriminating
C05 0050 10    sensibility and quicksilver intelligence, the same
C05 0060  5    gallantry of judgment.
C05 0060  8       For this latest addition to the Great Letters Series,
C05 0070  9    under the general editorship of Louis Kronenberger,
C05 0080  5    Miss Hardwick has made a selection which admirably
C05 0090  3    displays the variety of James's genius, not to mention
C05 0100  3    the felicities of his style. And how he could write!
C05 0110  1    His famous criticism of brother Henry's "third style"
C05 0110  9    is surely as subtly, even elegantly, worded an analysis
C05 0120  8    of the latter's intricate air castles as Henry himself
C05 0130  6    could ever have produced. His letter to his daughter
C05 0140  4    on the pains of growing up is surely as trenchant,
C05 0150  1    forthright, and warmly understanding a piece of advice
C05 0150  9    as ever a grown-up penned to a sensitive child, and
C05 0160  7    with just the right tone of unpatronizing good humor.
C05 0170  3    #@#
C05 0170  4    Most of all, his letters to his philosophic colleagues
C05 0180  2    show a magnanimity as well as an honesty which help
C05 0190  1    to explain Whitehead's reference to James as "that
C05 0190  9    adorable genius". Miss Hardwick speaks of his "superb
C05 0200  7    gift for intellectual friendship", and it is certainly
C05 0210  6    a joy to see the intellectual life lived so free from
C05 0220  5    either academic aridity or passionate dogmatism.
C05 0230  1       This is a virtue of which we have great need in
C05 0230 12    a society where there seems to be an increasing lack
C05 0240  8    of communication- or even desire for communication-
C05 0250  3    between differing schools of thought. It holds an equally
C05 0260  3    valuable lesson for a society where the word "intellectual"
C05 0270  1    has become a term of opprobrium to millions of well-meaning
C05 0270 12    people who somehow imagine that it must be destructive
C05 0280  9    of the simpler human virtues.
C05 0290  2       To his Harvard colleague, Josiah Royce, whose philosophic
C05 0300  1    position differed radically from his own, James could
C05 0300  9    write, "Different as our minds are, yours has nourished
C05 0310  9    mine, as no other social influence ever has, and in
C05 0320  7    converse with you I have always felt that my life was
C05 0330  5    being lived importantly".
C05 0330  8       Of another colleague, George Santayana, he could
C05 0340  5    write: "The great event in my life recently has been
C05 0350  6    the reading of Santayana's book. Although I absolutely
C05 0360  3    reject the Platonism of it, I have literally squealed
C05 0370  1    with delight at the imperturbable perfection with which
C05 0370  9    the position is laid down on page after page".
C05 0380  8    #@#
C05 0380  9    Writing to his colleague George Herbert Palmer- "Glorious
C05 0390  5    old Palmer", as he addresses him- James says that if
C05 0400  5    only the students at Harvard could really understand
C05 0410  2    Royce, Santayana, Palmer, and himself and see that
C05 0420  1    their varying systems are "so many religions, ways
C05 0420  9    of fronting life, and worth fighting for", then Harvard
C05 0430  7    would have a genuine philosophic universe. "The best
C05 0440  4    condition of it would be an open conflict and rivalry
C05 0450  3    of the diverse systems **h. The world might ring with
C05 0450 13    the struggle, if we devoted ourselves exclusively to
C05 0460  8    belaboring each other".
C05 0470  1       The "belaboring" is of course jocular, yet James
C05 0470  9    was not lacking in fundamental seriousness- unless
C05 0480  7    we measure him by that ultimate seriousness of the
C05 0490  6    great religious leader or thinker who stakes all on
C05 0500  4    his vision of God. To James this vision never quite
C05 0510  1    came, despite his appreciation of it in others.
C05 0510  9       But there is a dignity and even a hint of the inspired
C05 0520  9    prophet in his words to one correspondent: "You ask
C05 0530  3    what I am going to 'reply' to Bradley. But why need
C05 0540  4    one reply to everything and everybody? **h I think
C05 0550  1    that readers generally hate minute polemics and recriminations.
C05 0560  1    All polemic of ours should, I believe, be either very
C05 0560 11    broad statements of contrast, or fine points treated
C05 0570  7    singly, and as far as possible impersonally **h. As
C05 0580  4    far as the rising generation goes, why not simply express
C05 0590  2    ourselves positively, and trust that the truer view
C05 0590 10    quietly will displace the other. Here again 'God will
C05 0600  9    know his own'".
C05 0610  1       The collected works of James Thurber, now numbering
C05 0610  9    25 volumes (including the present exhibit) represent
C05 0620  6    a high standard of literary excellence, as every schoolboy
C05 0630  5    knows. The primitive-eclogue quality of his drawings,
C05 0640  4    akin to that of graffiti scratched on a cave wall,
C05 0650  1    is equally well known. About all that remains to be
C05 0650 11    said is that the present selection, most of which appeared
C05 0660  7    first in The New Yorker, comprises (as usual) a slightly
C05 0670  6    unstrung necklace, held together by little more than
C05 0680  3    a slender thread cunningly inserted in the spine of
C05 0680 12    the book.
C05 0690  2       The one unifying note, if any, is sounded in the
C05 0690 12    initial article entitled: "How to Get Through the Day".
C05 0700  9    It is repeated at intervals in some rather sadly desperate
C05 0710  8    word-games for insomniacs, the hospitalized, and others
C05 0720  5    forced to rely on inner resources, including (in the
C05 0730  4    ~P's alone) "palindromes", "paraphrases", and "parodies".
C05 0740  3       "The Tyranny of Trivia" suggests arbitrary alphabetical
C05 0750  3    associations to induce slumber. And new vistas of hairshirt
C05 0760  3    asceticism are opened by scholarly monographs entitled:
C05 0770  1    "Friends, Romans, Countrymen, Lend Me Your Ear-Muffs",
C05 0780  1    "Such a Phrase as Drifts Through Dream", and "The New
C05 0780 11    Vocabularianism". Some of Thurber's curative methods
C05 0790  6    involve strong potions of mixed metaphor, malapropism,
C05 0800  6    and gobbledygook and are recommended for use only in
C05 0810  5    extreme cases.
C05 0810  7    #@#
C05 0810  8    A burlesque paean entitled: "Hark the Herald Tribune,
C05 0820  6    Times, and All the Other Angels Sing" brilliantly succeeds
C05 0830  5    in exaggerating even motion-picture ballyhooey. "How
C05 0840  3    the Kooks Crumble" features an amusingly accurate take-off
C05 0850  4    on sneaky announcers who attempt to homogenize radio-~TV
C05 0860  1    commercials, and "The Watchers of the Night" is a veritable
C05 0870  1    waking nightmare.
C05 0870  3       A semi-serious literary document entitled "The Wings
C05 0880  3    of Henry James" is noteworthy, if only for a keenly
C05 0890  1    trenchant though little-known comment on the master's
C05 0890  9    difficult later period by modest Owen Wister, author
C05 0900  8    of "The Virginian". James, he remarks in a letter to
C05 0910  8    a friend, "is attempting the impossible **h namely,
C05 0920  3    to produce upon the reader, as a painting produces
C05 0930  1    upon the gazer, a number of superimposed, simultaneous
C05 0930  9    impressions. He would like to put several sentences
C05 0940  7    on top of each other so that you could read them all
C05 0950  5    at once, and get all at once, the various shadings
C05 0960  1    and complexities".
C05 0960  3       Equally penetrating in its fashion is the following
C05 0970  3    remark by a lady in the course of a literary conversation:
C05 0980  1    "So much has already been written about everything
C05 0980  9    that you can't find out anything about it". Or the
C05 0990  8    mildly epigrammatic utterance (also a quotation): "Woman's
C05 1000  5    place is in the wrong". Who but Thurber can be counted
C05 1010  6    on to glean such nectareous essences?
C05 1020  1       A tribute to midsummer "bang-sashes" seems terribly
C05 1020  9    funny, though it would be hard to explain why. "One
C05 1030 10    of them banged the sash of the window nearest my bed
C05 1040  7    around midnight in July and I leaped out of sleep and
C05 1050  5    out of bed. 'It's just a bat' said my wife reassuringly,
C05 1060  1    and I sighed with relief. 'Thank God for that' I said;
C05 1070  1    'I thought it was a human being'".
C05 1070  8    #@#
C05 1070  9    In a sense, perhaps, Thurber is indebted artistically
C05 1080  6    to the surrealist painter (was it Salvador Dali?) who
C05 1090  6    first conceived the startling fancy of a picture window
C05 1100  4    in the abdomen. That is, it is literally a picture
C05 1110  1    window: you don't see into the viscera; you see a picture-
C05 1110 12    trees, or flowers. This is something like what Thurber's
C05 1120  9    best effects are like, if I am not mistaken.
C05 1130  8       Though no longer able to turn out his protoplasmic
C05 1140  4    pen-and-ink sketches (several old favorites are scattered
C05 1150  2    through the present volume) Thurber has retained unimpaired
C05 1160  1    his vision of humor as a thing of simple, unaffected
C05 1160 11    humanness. In his concluding paragraph he writes: "The
C05 1170  7    devoted writer of humor will continue to try to come
C05 1180  7    as close to truth as he can". For many readers Thurber
C05 1190  3    comes closer than anyone else in sight.
C05 1200  1       The latest Low is a puzzler. The master's hand has
C05 1200 11    lost none of its craft. He is at his usual best in
C05 1210 11    exposing the shams and self-deceptions of political
C05 1220  3    and diplomatic life in the fifties. The reader meets
C05 1230  2    a few old friends like Blimp and the ~TUC horse, and
C05 1240  1    becomes better acquainted with new members of the cast
C05 1240 10    of characters like the bomb itself, and civilization
C05 1250  6    in her classic robe watching the nuclear arms race,
C05 1260  4    her hair standing straight out.
C05 1260  9       But there is a difference between the present volume
C05 1270  8    and the early Low. There is fear in the fifties as
C05 1280  7    his title suggests and as his competent drawings show.
C05 1290  2    But there was terror in the thirties when the Nazis
C05 1290 12    were on the loose and in those days Low struck like
C05 1300 11    lightning.
C05 1300 12    #@#
C05 1300 13    Anyone can draw his own conclusions from this difference.
C05 1310  9    It might be argued that the Communists are less inhuman
C05 1320  8    than the Nazis and furnish the artist with drama in
C05 1330  6    a lower key. But this argument cannot be pushed very
C05 1340  3    far because the Communist system makes up for any shortcomings
C05 1350  1    of its leaders in respect to corrosion. The Communists
C05 1350 10    wield a power unknown to Hitler. And the leading issue,
C05 1360 10    that of piecemeal aggression, remains the same. This
C05 1370  6    is drama enough.
C05 1370  9       Do we ourselves offer Mr& Low less of a crusade?
C05 1380  8    In the thirties we would not face our enemy; that was
C05 1390  7    a nightmarish situation and Low was in his element.
C05 1400  4    Now we have stood up to the Communists; we are stronger
C05 1410  1    and more self-confident- and Low cannot so easily put
C05 1410 11    us to rights.
C05 1420  1       Or does the reason for less Jovian drawings lie
C05 1420 10    elsewhere? It might be that Low has seen too many stupidities
C05 1430 11    and that they do not outrage him now. He writes, "Confucius
C05 1440  9    held that in times of stress one should take short
C05 1450  7    views- only up to lunchtime".
C05 1460  1       Whatever the cause, his mood in the fifties rarely
C05 1460 10    rises above the level of the capably sardonic. Dulles?
C05 1470  8    He does not seem to have caught the subtleties of the
C05 1480  6    man. McCarthy? The skies turn dark but the clouds do
C05 1490  5    not loose their wrath. Suez? Low seems to have supported
C05 1500  2    Eden at first and then relented because things worked
C05 1500 11    out differently, so there is no fire in his eye.
C05 1510  9    #@#
C05 1510 10    Stalin's death, Churchill's farewell to public life,
C05 1520  6    Hillary and Tensing on Everest, Quemoy and Matsu- all
C05 1530  5    subjects for a noble anger or an accolade. Instead
C05 1540  2    the cartoons seem to deal with foibles. Their Eisenhower
C05 1550  1    is insubstantial. Did Low decide to let well enough
C05 1550 10    alone when he made his selections?
C05 1560  5       He often drew the bomb. He showed puny men attacked
C05 1570  3    by splendidly tyrannical machines. And Khrushchev turned
C05 1580  1    out to be prime copy for the most witty caricaturist
C05 1580 11    of them all. But, but and but.
C05 1590  5       Look in this book for weak mortals and only on occasion
C05 1600  3    for virtues and vices on the heroic scale. Read the
C05 1600 13    moderately brief text, not for captions, sometimes
C05 1610  7    for tart epigrams, once in a while for an explosion
C05 1620  7    in the middle of your fixed ideas.
C05 1630  1       A gray fox with a patch on one eye- confidence man,
C05 1630 12    city slicker, lebensraum specialist- tries to take
C05 1640  6    over Catfish Bend in this third relaxed allegory from
C05 1650  5    Mr& Burman's refreshing Louisiana animal community.
C05 1660  3       The fox is all ingratiating smiles when he arrives
C05 1670  2    from New Orleans, accompanied by one wharf rat. But
C05 1670 11    like all despots, as he builds his following from among
C05 1680  9    the gullible, he grows more threatening toward those
C05 1690  5    who won't follow- such solid citizens as Doc Raccoon;
C05 1700  4    Judge Black, the vegetarian black snake; and the eagle,
C05 1710  4    who leads the bird community when he is not too busy
C05 1710 15    in Washington posing for fifty-cent pieces.
C05 1720  7       As soon as the fox has taken hold on most of the
C05 1730  8    populace he imports more wharf rats, who, of course,
C05 1740  3    say they are the aggrieved victims of an extermination
C05 1750  1    campaign in the city. (The followers of bullies invariably
C05 1760  9    are aggrieved about the very things they plan to do
C05 1770  5    to others.) They train the mink and other animals to
C05 1780  5    fight. And pretty soon gray fox is announcing that
C05 1790  1    he won't have anyone around that's against him, and
C05 1790 10    setting out to break his second territorial treaty
C05 1800  7    with the birds.
C05 1800 10       Robert Hillyer, the poet, writes in his introduction
C05 1810  8    to this brief animal fable that Mr& Burman ought to
C05 1820  7    win a Nobel Prize for the Catfish Bend series. He may
C05 1830  5    have a point in urging that decadent themes be given
C05 1840  2    fewer prizes. But it's hard to imagine Mr& Burman as
C05 1840 12    a Nobel laureate on the basis of these charming but
C05 1850  9    not really momentous fables.
C05 1860  2       In substance they lie somewhere between the Southern
C05 1870  1    dialect animal stories of Joel Chandler Harris (Uncle
C05 1870  9    Remus) and the polished, witty fables of James Thurber.
C06 0010  1       George Kennan's account of relations between Russia
C06 0010  8    and the West from the fall of Tsarism to the end of
C06 0020 11    World War /2, is the finest piece of diplomatic history
C06 0030  6    that has appeared in many years. It combines qualities
C06 0040  4    that are seldom found in one work: Scrupulous scholarship,
C06 0050  2    a fund of personal experience, a sense of drama and
C06 0050 12    characterization and a broad grasp of the era's great
C06 0060  9    historical issues.
C06 0080  1       In short, the book, based largely on lectures delivered
C06 0080 10    at Harvard University, is both reliable and readable;
C06 0090  7    the author possesses an uncommonly fine English style,
C06 0100  6    and he is dealing with subjects of vast importance
C06 0110  4    that are highly topical for our time. If Mr& Kennan
C06 0120  2    is sometimes a little somber in his appraisals, if
C06 0120 11    his analysis of how Western diplomacy met the challenge
C06 0130  8    of an era of great wars and social revolutions is often
C06 0140  6    critical and pessimistic- well, the record itself is
C06 0150  4    not too encouraging.
C06 0150  7       Mr& Kennan takes careful account of every mitigating
C06 0160  5    circumstance in recalling the historical atmosphere
C06 0170  2    in which mistaken decisions were taken. But he rejects,
C06 0180  1    perhaps a little too sweepingly, the theory that disloyal
C06 0180 10    and pro-Communist influences may have contributed to
C06 0190  6    the policy of appeasing Stalin which persisted until
C06 0200  4    after the end of the war and reached its high point
C06 0210  2    at the Yalta Conference in February, 1945.
C06 0210  9       After all, Alger Hiss, subsequently convicted of
C06 0220  6    perjury in denying that he gave secret State Department
C06 0230  5    documents to Soviet agents, was at Yalta. And Harry
C06 0240  3    Dexter White, implicated in F&B&I& reports in Communist
C06 0250  3    associations, was one of the architects of the Morgenthau
C06 0260  1    Plan, which had it ever been put into full operation,
C06 0260 11    would have simply handed Germany to Stalin. One item
C06 0270  8    in this unhappy scheme was to have Germany policed
C06 0280  5    exclusively by its continental neighbors, among whom
C06 0290  3    only the Soviet Union possessed real military strength.
C06 0290 11       It is quite probable, however, that stupidity, inexperience
C06 0300  9    and childish adherence to slogans like "unconditional
C06 0310  7    surrender" had more to do with the unsatisfactory settlements
C06 0320  8    at the end of the war than treason or sympathy with
C06 0330  5    Communism. Mr& Kennan sums up his judgment of what
C06 0340  3    went wrong this way:
C06 0340  7    #DASHED HOPE#
C06 0340  9    "You see, first of all and in a sense as the source
C06 0350 11    of all other ills, the unshakeable American commitment
C06 0360  3    to the principle of unconditional surrender: The tendency
C06 0370  3    to view any war in which we might be involved not as
C06 0380  1    a means of achieving limited objectives in the way
C06 0380 10    of changes in a given status quo, but as a struggle
C06 0390  7    to the death between total virtue and total evil, with
C06 0400  4    the result that the war had absolutely to be fought
C06 0410  1    to the complete destruction of the enemy's power, no
C06 0410 10    matter what disadvantages or complications this might
C06 0420  5    involve for the more distant future".
C06 0430  2       Recognizing that there could have been no effective
C06 0440  1    negotiated peace with Hitler, he points out the shocking
C06 0440 10    failure to give support to the anti-Nazi underground,
C06 0450  8    which very nearly eliminated Hitler in 1944. A veteran
C06 0460  6    diplomat with an extraordinary knowledge of Russian
C06 0470  3    language, history and literature, Kennan recalls how,
C06 0470 10    at the time of Hitler's attack on the Soviet Union
C06 0480 10    in 1941, he penned a private note to a State Department
C06 0490  8    official, expressing the hope that "never would we
C06 0500  5    associate ourselves with Russian purposes in the areas
C06 0510  3    of eastern Europe beyond her own boundaries".
C06 0510 10       The hope was vain. With justified bitterness the
C06 0520  8    author speaks of "what seems to me to have been an
C06 0530  8    inexcusable body of ignorance about the nature of the
C06 0540  4    Russian Communist movement, about the history of its
C06 0550  1    diplomacy, about what had happened in the purges, and
C06 0550 10    about what had been going on in Poland and the Baltic
C06 0560  9    States". He also speaks of Franklin D& Roosevelt's
C06 0570  4    "puerile" assumption that "if only he (Stalin) could
C06 0580  4    be exposed to the persuasive charm of someone like
C06 0590  2    F&D&R& himself, ideological preconceptions would melt
C06 0590  8    and Russia's co-operation with the West could be easily
C06 0600 10    arranged".
C06 0610  1       No wonder Khrushchev's first message to President
C06 0610  8    Kennedy was a wistful desire for the return of the
C06 0620 10    "good old days" of Roosevelt.
C06 0630  1       This fascinating story begins with a sketch, rich
C06 0630  9    in personal detail, of the glancing mutual impact of
C06 0640  9    World War /1, and the two instalments of the Russian
C06 0650  7    Revolution. The first of these involved the replacement
C06 0660  4    of the Tsar by a liberal Provisional Government in
C06 0670  2    March, 1917; the second, the seizure of power by the
C06 0670 12    Bolsheviks (who later called themselves Communists)
C06 0680  6    in November of the same year.
C06 0690  3       As Kennan shows, the judgment of the Allied governments
C06 0700  1    about what was happening in Russia was warped by the
C06 0700 11    obsession of defeating Germany. They were blind to
C06 0710  8    the evidence that nothing could keep the Russian people
C06 0720  6    fighting. They attributed everything that went wrong
C06 0730  4    in Russia to German influence and intrigue. This, more
C06 0740  2    than any other factor, led to the fiasco of Allied
C06 0740 12    intervention. As the author very justly says:
C06 0750  7       "Had a world war not been in progress, there would
C06 0760  5    never, under any conceivable stretch of the imagination,
C06 0770  2    have been an Allied intervention in North Russia".
C06 0780  1    The scope and significance of this intervention have
C06 0780  9    been grossly exaggerated by Communist propaganda; here
C06 0790  5    Kennan, operating with precise facts and figures, performs
C06 0800  5    an excellent job of debunking.
C06 0800 10    #PLEBIAN DICTATORS#
C06 0810  2    Of many passages in the book that exemplify the author's
C06 0820  1    vivid style, the characterizations of the two plebeian
C06 0820  9    dictators whose crimes make those of crowned autocrats
C06 0830  8    pale by comparison may be selected. On Stalin:
C06 0840  5       "This was a man of incredible criminality, of a
C06 0850  3    criminality effectively without limits; a man apparently
C06 0860  1    foreign to the very experience of love, without mercy
C06 0860 10    or pity; a man in whose entourage none was ever safe;
C06 0870 10    a man whose hand was set against all that could not
C06 0880  6    be useful to him at the moment; a man who was most
C06 0890  3    dangerous of all to those who were his closest collaborators
C06 0900  1    in crime **h".
C06 0900  4       And here is Kennan's image of Hitler, Stalin's temporary
C06 0910  2    collaborator in the subjugation and oppression of weaker
C06 0920  2    peoples, and his later enemy:
C06 0920  7       "Behind that Charlie Chaplin moustache and that
C06 0930  5    truant lock of hair that always covered his forehead,
C06 0940  3    behind the tirades and the sulky silences, the passionate
C06 0950  1    orations and the occasional dull evasive stare, behind
C06 0950  9    the prejudices, the cynicism, the total amorality of
C06 0960  7    behavior, behind even the tendency to great strategic
C06 0970  4    mistakes, there lay a statesman of no mean qualities:
C06 0980  1    Shrewd, calculating, in many ways realistic, endowed-
C06 0980  8    like Stalin- with considerable powers of dissimulation,
C06 0990  6    capable of playing his cards very close to his chest
C06 1000  8    when he so desired, yet bold and resolute in his decisions,
C06 1010  5    and possessing one gift Stalin did not possess: The
C06 1020  3    ability to rouse men to fever pitch of personal devotion
C06 1030  1    and enthusiasm by the power of the spoken word".
C06 1030 10       Two criticisms of this generally admirable and fascinating
C06 1040  7    book involve the treatment of wartime diplomacy which
C06 1050  5    is jagged at the edges- there is no mention of the
C06 1060  5    Potsdam Conference or the Morgenthau Plan. And in a
C06 1070  3    concluding chapter about America's stance in the contemporary
C06 1080  1    world, one senses certain misplacements of emphasis
C06 1080  8    and a failure to come to grips with the baffling riddle
C06 1090  7    of our time: How to deal with a wily and aggressive
C06 1100  5    enemy without appeasement and without war.
C06 1110  1       But one should not ask for everything. Mr& Kennan,
C06 1110 10    who has recently abandoned authorship for a new round
C06 1120  7    of diplomacy as the recently appointed American ambassador
C06 1130  4    to Yugoslavia, is not the only man who finds it easier
C06 1140  4    to portray the past than to prescribe for the future.
C06 1150  1    The story of a quarter of a century of Soviet-Western
C06 1150 12    relations is vitally important, and it is told with
C06 1160  9    the fire of a first-rate historical narrator. The Ireland
C06 1180  3    we usually hear about in the theater is a place of
C06 1180 14    bitter political or domestic unrest, lightened occasionally
C06 1200  6    with flashes of native wit and charm. In "Donnybrook",
C06 1210  5    there is quite a different Eire, a rural land where
C06 1220  4    singing, dancing, fist-fighting and romancing are the
C06 1230  1    thing. There is plenty of violence, to be sure, but
C06 1230 11    it is a nice violence and no one gets killed. By and
C06 1240  8    large, Robert McEnroe's adaptation of Maurice Walsh's
C06 1250  4    film, "The Quiet Man", provides the entertainment it
C06 1260  4    set out to, and we have a lively musical show if not
C06 1270  2    a superlative one.
C06 1270  5    _@_
C06 1270  6       This is the tale of one John Enright, an American
C06 1280  3    who has accidentally killed a man in the prize ring
C06 1290  1    and is now trying to forget about it in a quiet place
C06 1290 13    where he may become a quiet man. But Innesfree, where
C06 1300  7    Ellen Roe Danaher and her bullying brother, Will, live,
C06 1310  5    is no place for a man who will not use his fists. So
C06 1320  4    Enright's courting of the mettlesome Ellen is impeded
C06 1330  1    considerably, thereby providing the tale which is told.
C06 1330  9    You may be sure he marries her in the end and has a
C06 1340 11    fine old knockdown fight with the brother, and that
C06 1350  5    there are plenty of minor scraps along the way to ensure
C06 1360  3    that you understand what the word Donnybrook means.
C06 1370  1       Then there is a matchmaker, one Mikeen Flynn, a
C06 1370  9    role for which Eddie Foy was happily selected. Now
C06 1380  6    there is no reason in the world why a matchmaker in
C06 1390  4    Ireland should happen also to be a talented soft-shoe
C06 1400  1    dancer and gifted improviser of movements of the limbs,
C06 1400 10    torso and neck, except that these talents add immensely
C06 1410  7    to the enjoyment of the play. Mr& Foy is a joy, having
C06 1420  7    learned his dancing by practicing it until he is practically
C06 1430  5    perfect. His matchmaking is, naturally, incidental,
C06 1440  1    and it only serves Flynn right when a determined widow
C06 1440 11    takes him by the ear and leads him off to matrimony.
C06 1450 11       Art Lund, a fine big actor with a great head of
C06 1460  8    blond hair and a good voice, impersonates Enright.
C06 1470  2    Although he is not graced with the subtleties of romantic
C06 1480  1    technique, that's not what an ex-prize fighter is supposed
C06 1480 11    to have, anyway. Joan Fagan, a fiery redhead who can
C06 1490  9    impress you that she has a temper whether she really
C06 1500  7    has one or not, plays Ellen, and sings the role very
C06 1510  4    well, too. If the mettle which Ellen exhibits has a
C06 1520  2    bit of theatrical dross in it, never mind; she fits
C06 1520 12    into the general scheme well enough.
C06 1530  4       Susan Johnson, as the widow, spends the first half
C06 1540  3    of the play running a bar and singing about the unlamented
C06 1550  1    death of her late husband and the second half trying
C06 1550 11    to acquire a new one. She has a good, firm delivery
C06 1560  8    of songs and adds to the solid virtues of the evening.
C06 1570  4       Then there are a pair of old biddies played by Grace
C06 1580  3    Carney and Sibly Bowan who may be right off the shelf
C06 1590  1    of stock Irish characters, but they put such a combination
C06 1590 11    of good will and malevolence into their parts that
C06 1600  8    they're quite entertaining. And in the role of Will
C06 1610  7    Danaher, Philip Bosco roars and sneers sufficiently
C06 1620  2    to intimidate not only one American but the whole British
C06 1630  1    army, if he chose.
C06 1630  5       "Donnybrook" is no "Brigadoon", but it does have
C06 1640  5    some very nice romantic background touches and some
C06 1650  1    excellent dancing. The ballads are sweet and sad, and
C06 1650 10    the music generally competent. It sometimes threatens
C06 1660  5    to linger in the memory after the final curtain, and
C06 1670  5    some of it, such as the catchy "Sez I", does. "A Toast
C06 1680  4    To The Bride", sung by Clarence Nordstrom, playing
C06 1690  1    a character called Old Man Toomey, is quite simple,
C06 1690 10    direct and touching.
C06 1700  2       The men of Innesfree are got up authentically in
C06 1710  1    cloth caps and sweaters, and their dancing and singing
C06 1710 10    is fine. So is that of the limber company of lasses
C06 1720  8    who whirl and glide and quickstep under Jack Cole's
C06 1730  4    expert choreographic direction. The male dancers sometimes
C06 1740  2    wear kilts and their performance in them is spirited
C06 1740 11    and stimulating.
C06 1750  2       Rouben Ter-Arutunian, in his stage settings, often
C06 1760  2    uses the scrim curtain behind which Mr& Cole has placed
C06 1760 12    couples or groups who sing and set the mood for the
C06 1770 11    scenes which are to follow. There is no reason why
C06 1780  6    most theatergoers should not have a pretty good time
C06 1790  3    at "Donnybrook", unless they are permanently in the
C06 1800  1    mood of Enright when he sings about how easily he could
C06 1800 12    hate the lovable Irish.
C06 1820  1       WE can all breathe more easily this morning- more
C06 1820 10    easily and joyously, too- because Joshua Logan has
C06 1830  8    turned the stage show, "Fanny", into a delightful and
C06 1840  6    heart-warming film.
C06 1840  9       The task of taking the raw material of Marcel Pagnol's
C06 1850 10    original trio of French films about people of the waterfront
C06 1860  9    in Marseilles and putting them again on the screen,
C06 1870  6    after their passage through the Broadway musical idiom,
C06 1880  3    was a delicate and perilous one, indeed. More than
C06 1890  1    the fans of Pagnol's old films and of their heroic
C06 1890 11    star, the great Raimu, were looking askance at the
C06 1900  7    project. The fans of the musical were, too.
C06 1910  3       But now the task is completed and the uncertainty
C06 1920  1    resolved with the opening of the English-dialogue picture
C06 1920 10    at the Music Hall yesterday. Whether fan of the Pagnol
C06 1930  8    films or stage show, whether partial to music or no,
C06 1940  6    you can't help but derive joy from this picture if
C06 1950  3    you have a sense of humor and a heart.
C07 0010  1       SOME of the New York Philharmonic musicians who
C07 0010  9    live in the suburbs spent yesterday morning digging
C07 0020  7    themselves free from snow. A tiny handful never did
C07 0030  6    make the concert. But, after a fifteen-minute delay,
C07 0040  2    the substantially complete Philharmonic assembled on
C07 0040  8    stage for the afternoon's proceedings. They faced a
C07 0050  8    rather small audience, as quite a few subscribers apparently
C07 0060  7    had decided to forego the pleasures of the afternoon.
C07 0070  4       It was an excellent concert. Paul Paray, rounding
C07 0080  3    out his current stint with the orchestra, is a solid
C07 0090  1    musician, and the Philharmonic plays for him. Their
C07 0090  9    collaboration in the Beethoven Second Symphony was
C07 0100  6    lucid, intelligent and natural sounding. It was not
C07 0110  4    a heavy, ponderous Beethoven. The music sang nicely,
C07 0120  1    sprinted evenly when necessary, was properly accented
C07 0120  8    and balanced.
C07 0130  1    #@#
C07 0130  2       The Franck symphonic poem, "Psyche", is a lush,
C07 0150  1    sweet-sounding affair that was pleasant to encounter
C07 0150  9    once again. Fortunate for the music itself, it is not
C07 0160  8    too frequent a visitor; if it were, its heavily chromatic
C07 0170  6    harmonies would soon become cloying.
C07 0180  1       Mr& Paray resisted the temptation to over-emphasize
C07 0180  9    the melodic elements of the score. He did not let the
C07 0190 10    strings, for instance, weep, whine or get hysterical.
C07 0200  6    His interpretation was a model of refinement and accuracy.
C07 0210  3       And in the Prokofieff ~C major Piano Concerto, with
C07 0220  3    Zadel Skolovsky as soloist, he was an admirable partner.
C07 0230  1    Mr& Skolovsky's approach to the concerto was bold,
C07 0230  9    sweeping and tonally percussive. He swept through the
C07 0240  8    music with ease, in a non-sentimental and ultra-efficient
C07 0250  6    manner.
C07 0250  7    #@#
C07 0250  8    An impressive technician, Mr& Skolovsky has fine rhythm,
C07 0260  6    to boot. His tone is the weakest part of his equipment;
C07 0270  6    it tends to be hard and colorless. A school of thought
C07 0280  5    has it that those attributes are exactly what this
C07 0290  1    concerto needs. It is, after all, a non-romantic work
C07 0290 11    (even with the big, juicy melody of the second movement);
C07 0300  8    and the composer himself was called the "age of steel
C07 0310  7    pianist". But granted all this, one still would have
C07 0320  4    liked to have heard a little more tonal nuance than
C07 0330  1    Mr& Skolovsky supplied.
C07 0330  4       Taken as a whole, though, it was a strong performance
C07 0340  4    from both pianist and orchestra. Mr& Skolovsky fully
C07 0350  2    deserved the warm reception he received.
C07 0350  8       A new work on the program was Nikolai Lopatnikoff's
C07 0360  6    "Festival Overture", receiving its first New York hearing.
C07 0370  7    This was composed last year as a salute to the automobile
C07 0380  6    industry. It is not program music, though. It runs
C07 0390  3    a little more than ten minutes, is workmanlike, busy,
C07 0390 12    methodical and featureless.
C07 0410  1       "La Gioconda", like it or not, is a singer's opera.
C07 0410 11    And so, of course, it is a fan's opera as well. Snow
C07 0420 12    or no, the fans were present in force at the Metropolitan
C07 0430  8    Opera last night for a performance of the Ponchielli
C07 0440  4    work.
C07 0440  5       So the plot creaks, the sets are decaying, the costumes
C07 0450  5    are pre-historic, the orchestra was sloppy and not
C07 0460  3    very well connected with what the singers were doing.
C07 0460 12    After all, the opera has juicy music to sing and the
C07 0470 11    goodies are well distributed, with no less than six
C07 0480  6    leading parts.
C07 0480  8       One of those parts is that of evil, evil Barnaba,
C07 0490  7    the spy. His wicked deeds were carried on by Anselmo
C07 0500  4    Colzani, who was taking the part for the first time
C07 0510  1    with the company.
C07 0510  4       He has the temperament and the stage presence for
C07 0520  2    a rousing villain and he sang with character and strong
C07 0520 12    tone. What was lacking was a real sense of phrase,
C07 0530 10    the kind of legato singing that would have added a
C07 0540  6    dimension of smoothness to what is, after all, a very
C07 0550  4    oily character.
C07 0550  6       Regina Resnik as Laura and Cesare Siepi as Alvise
C07 0560  4    also were new to the cast, but only with respect to
C07 0570  2    this season; they have both sung these parts here before.
C07 0570 12    Laura is a good role for Miss Resnik, and she gave
C07 0580 11    it force, dramatic color and passion.
C07 0590  3       Mr& Siepi was, as always, a consummate actor; with
C07 0600  2    a few telling strokes he characterized Alvise magnificently.
C07 0610  1    Part of this characterization was, of course, accomplished
C07 0610  9    with the vocal chords. His singing was strong and musical;
C07 0620  9    unfortunately his voice was out of focus and often
C07 0630  8    spread in quality.
C07 0630 11       Eileen Farrell in the title role, Mignon Dunn as
C07 0640  8    La Cieca and Richard Tucker as Enzo were holdovers
C07 0650  5    from earlier performances this season, and all contributed
C07 0660  3    to a vigorous performance. If only they and Fausto
C07 0670  1    Cleva in the pit had got together a bit more. @
C07 0680  1       "MELODIOUS birds sing madrigals" saith the poet
C07 0680  8    and no better description of the madrigaling of the
C07 0690  8    Deller Consort could be imagined.
C07 0700  3       Their Vanguard album Madrigal Masterpieces (~BG
C07 0710  2    609; stereo ~BGS 5031) is a good sample of the special,
C07 0720  1    elegant art of English madrigal singing. It also makes
C07 0720 10    a fine introduction to the international art form with
C07 0730  7    good examples of Italian and English madrigals plus
C07 0740  5    several French "chansons".
C07 0750  1       The English have managed to hold onto their madrigal
C07 0750 10    tradition better than anyone else. The original impulses
C07 0760  7    came to England late (in the sixteenth century) and
C07 0770  4    continue strong long after everyone else had gone on
C07 0780  3    to the baroque basso continuo, sonatas, operas and
C07 0780 11    the like.
C07 0790  1       Even after Elizabethan traditions were weakened
C07 0790  7    by the Cromwellian interregnum, the practice of singing
C07 0800  6    together- choruses, catches and glees- always flourished.
C07 0810  5    The English never again developed a strong native music
C07 0820  5    that could obliterate the traces of an earlier great
C07 0830  2    age the way, say, the opera in Italy blotted out the
C07 0830 13    Italian madrigal.
C07 0840  2    #EARLY INTEREST#
C07 0840  4    Latter-day interest in Elizabethan singing dates well
C07 0850  3    back into the nineteenth century in England, much ahead
C07 0860  1    of similar revivals in other countries. As a result
C07 0860 10    no comparable literature of the period is better known
C07 0870  8    and better studied nor more often performed than the
C07 0880  5    English madrigal.
C07 0880  7       Naturally, Mr& Deller and the other singers in his
C07 0890  8    troupe are most charming and elegant when they are
C07 0900  4    squarely in their tradition and singing music by their
C07 0910  1    countrymen: William Byrd, Thomas Morley and Thomas
C07 0910  8    Tomkins. There is an almost instrumental quality to
C07 0920  8    their singing, with a tendency to lift out important
C07 0930  5    lines and make them lead the musical texture. Both
C07 0940  2    techniques give the music purity and clarity.
C07 0940  9       Claude Jannequin's vocal description of a battle
C07 0950  7    (the French equivalents of tarantara, rum-tum-tum,
C07 0960  6    and boom-boom-boom are very picturesque) is lots of
C07 0970  3    fun, and the singers get a sense of grace and shape
C07 0970 14    into other chansons by Jannequin and Lassus. Only with
C07 0980  8    the more sensual, intense and baroque expressions of
C07 0990  5    Marenzio, Monteverdi and Gesualdo does the singing
C07 1000  4    seem a little superficial.
C07 1000  8       Nevertheless, the musicality, accuracy and infectious
C07 1010  5    charm of these performances, excellently reproduced,
C07 1020  2    make it an attractive look-see at the period. The works
C07 1030  2    are presented chronologically. Texts and translations
C07 1030  8    are provided.
C07 1040  1    #ELEGANCE AND COLOR#
C07 1040  4    The elements of elegance and color in Jannequin are
C07 1050  2    strong French characteristics. Baroque instrumental
C07 1050  7    music in Italy and Germany tends to be strong, lively,
C07 1060 10    intense, controlled and quite abstract. In France,
C07 1070  6    it remained always more picturesque, more dancelike,
C07 1080  3    more full of flavor.
C07 1080  7       Couperin and Rameau gave titles to nearly everything
C07 1090  6    they wrote, not in the later sense of "program music"
C07 1100  4    but as a kind of nonmusical reference for the close,
C07 1110  1    clear musical forms filled with keen wit and precise
C07 1110 10    utterance.
C07 1120  1       Both composers turn up on new imports from France.
C07 1120 10    ~BAM is the unlikely name of a French recording company
C07 1130 10    whose full label is Editions de la boite a musique.
C07 1140  7    They specialize in out-of-the-way items and old French
C07 1150  5    music naturally occupies a good deal of their attention.
C07 1160  1    Sonates et Concerts Royaux of Couperin le grand occupy
C07 1170  1    two disks (~LD056 and ~LD060) and reveal the impeccable
C07 1170 10    taste and workmanship of this master- delicate, flexible
C07 1180  8    and gemlike.
C07 1190  1       The Concerts- Nos& 2, 6, 9, 10 and 14 are represented-
C07 1200  1    are really closer to chamber suites than to concertos
C07 1200 10    in the Italian sense. The sonatas, "La Francaise",
C07 1210  6    "La Sultane", "L'Astree" and "L'Imperiale", are often
C07 1220  5    more elaborately worked out and, in fact, show a strong
C07 1230  8    Italian influence.
C07 1230 10       Couperin also turns up along with some lesser-known
C07 1240  9    contemporaries on a disk called Musique Francaise du
C07 1250  5    /18,e Siecle (~BAM ~LD 060). Jean-Marie LeClair still
C07 1260  6    is remembered a bit, but Bodin de Beismortier, Corrette
C07 1270  3    and Mondonville are hardly household words. What is
C07 1280  3    interesting about these chamber works here is how they
C07 1280 12    all reveal the aspect of French music that was moving
C07 1290  9    toward the rococo.
C07 1300  1       The Couperin "La Steinkerque", with its battle music,
C07 1300  9    brevity, wit and refined simplicity, already shakes
C07 1310  7    off Corelli and points towards the mid-century elegances
C07 1320  6    that ended the baroque era. If Couperin shows the fashionable
C07 1330  5    trend, the others do so all the more.
C07 1340  1       All these records have close, attractive sound and
C07 1340  9    the performances by a variety of instrumentalists is
C07 1350  7    characteristic.
C07 1350  8       Rameau's Six Concerts en Sextuor, recorded by L'orchestre
C07 1360  8    de chambre Pierre Menet (~BAM ~LD 046), turn out to
C07 1370 10    be harpsichord pieces arranged for strings apparently
C07 1380  6    by the composer himself. The strange, delightful little
C07 1390  5    character pieces with their odd and sometimes inexplicable
C07 1400  2    titles are still evocative and gracious.
C07 1410  1       Maitres Allemands des /17,e et /18,e Siecles contains
C07 1410  8    music by Pachelbel, Buxtehude, Rosenmueller and Telemann,
C07 1420  7    well performed by the Ensemble Instrumental Sylvie
C07 1430  6    Spycket (~BAM ~LD 035).
C07 1450  1       Rococo music- a lot of it- was played in Carnegie
C07 1450 11    Recital Hall on Saturday night in the first of four
C07 1460 10    concerts being sponsored this season by a new organization
C07 1470  7    known as Globe Concert Arts.
C07 1480  1       Works by J& C& Bach, Anton Craft, Joseph Haydn,
C07 1480 10    Giuseppe Sammartini, Comenico Dragonetti and J& G&
C07 1490  7    Janitsch were performed by seven instrumentalists including
C07 1500  6    Anabel Brieff, flutist, Josef Marx, oboist, and Robert
C07 1510  6    Conant, pianist and harpsichordist.
C07 1520  1       Since rococo music tends to be pretty and elegant
C07 1520 10    above all, it can seem rather vacuous to twentieth-century
C07 1530  9    ears that have grown accustomed to the stress and dissonances
C07 1540  7    of composers from Beethoven to Boulez.
C07 1550  3       Thus there was really an excess of eighteenth-century
C07 1560  1    charm as one of these light-weight pieces followed
C07 1560 10    another on Saturday night. Each might find a useful
C07 1570  7    place in a varied musical program, but taken together
C07 1580  4    they grew quite tiresome.
C07 1580  8       The performances were variable, those of the full
C07 1590  7    ensemble being generally satisfying, some by soloists
C07 1600  4    proving rather trying. @
C07 1610  1       Ellie Mao, soprano, and Frederick Fuller, baritone,
C07 1610  8    presented a program of folksongs entitled "East Meets
C07 1620  8    West" in Carnegie Recital Hall last night. They were
C07 1630  7    accompanied by Anna Mi Lee, pianist.
C07 1640  2       Selections from fifteen countries were sung as solos
C07 1650  1    and duets in a broad range of languages. Songs from
C07 1650 11    China and Japan were reserved exclusively for Miss
C07 1660  6    Mao, who is a native of China, and those of the British
C07 1670  6    Isles were sung by Mr& Fuller, who is English by birth.
C07 1680  4       This was not a program intended to illustrate authentic
C07 1690  2    folk styles. On the contrary, Miss Mao and Mr& Fuller
C07 1700  1    chose many of their arrangements from the works of
C07 1700 10    composers such as Mendelssohn, Dvorak, Canteloube,
C07 1710  5    Copland and Britten. Thre was, therefore, more musical
C07 1730  4    substance in the concert than might have been the case
C07 1740  3    otherwise. The performances were assured, communicative
C07 1740  9    and pleasingly informal. @
C07 1760  1       WHAT was omitted from "A Neglected Education" were
C07 1770  1    those essentials known as "the facts of life".
C07 1770  9       Chabrier's little one-act operetta, presented yesterday
C07 1780  7    afternoon at Town Hall, is a fragile, precious little
C07 1790  6    piece, very French, not without wit and charm. The
C07 1800  4    poor uneducated newlywed, a certain Gontran de Boismassif,
C07 1810  1    has his problems in getting the necessary information.
C07 1810  9    The humor of the situation can be imagined.
C07 1820  7       It all takes place in the eighteenth century. What
C07 1830  4    a silly, artificial way of life, Chabrier and his librettists
C07 1840  4    chuckle. But they wish they could bring it back.
C07 1850  1    #@#
C07 1850  2    Chabrier's delightful music stands just at the point
C07 1850 10    where the classical, rationalist tradition, (handed
C07 1860  6    down to Chabrier largely in the form of operetta and
C07 1870  7    salon music) becomes virtually neo-classicism. The
C07 1880  2    musical cleverness and spirit plus a strong sense of
C07 1880 11    taste and measure save a wry little joke from becoming
C07 1890 10    either bawdy or mawkish.
C07 1900  2       The simple, clever production was also able to tread
C07 1910  1    the thin line between those extremes. Arlene Saunders
C07 1910  9    was charming as poor Gontran. Yes, Arlene is her name;
C07 1920  8    the work uses the old eighteenth-century tradition
C07 1930  2    of giving the part of a young inexperienced youth to
C07 1940  3    a soprano. Benita Valente was delightful as the young
C07 1940 12    wife and John Parella was amusing as the tutor who
C07 1950 10    failed to do all his tutoring.
C07 1960  1       The work was presented as the final event in the
C07 1960 11    Town Hall Festival of Music. It was paired with a Darius
C07 1970 11    Milhaud opera, "The Poor Sailor", set to a libretto
C07 1980  8    by Jean Cocteau, a kind of Grand Guignol by the sea,
C07 1990  8    a sailor returns, unrecognized, and gets done in by
C07 2000  5    his wife.
C07 2000  7       With the exception of a few spots, Milhaud's music
C07 2010  3    mostly churns away with his usual collection of ditties,
C07 2020  1    odd harmonies, and lumbering, satiric orchestration.
C08 0010  1       Had a funny experience at Newport yesterday afternoon.
C08 0010  9    Sat there and as a woman sang, she kept getting thinner
C08 0020 10    and thinner, right before my eyes, and the eyes of
C08 0030  8    some 5,500 other people.
C08 0030 12       I make this observation about the lady, Miss Judy
C08 0040  8    Garland, because she brought up the subject herself
C08 0050  5    in telling a story about a British female reporter
C08 0060  2    who flattered her terribly in London recently and then
C08 0060 11    wrote in the paper the next day:
C08 0070  7       "Judy Garland has arrived in London. She's not chubby.
C08 0080  6    She's not plump. She's fat".
C08 0090  1       But who cares, when the lady sings? Certainly not
C08 0090 10    the largest afternoon audience Newport has ever had
C08 0100  7    at a jazz concert and the most attentive and quiet.
C08 0110  5    They applauded every number, not only at its conclusion
C08 0120  2    but also at the first statement of the theme- sometimes
C08 0130  1    at the first chord.
C08 0130  5       And Judy sang the lovely old familiar things which
C08 0140  2    seemed, at times, a blessed relief from the way-out
C08 0140 12    compositions of the progressive jazzmen who have dominated
C08 0150  8    these proceedings. Things like "When You're Smiling",
C08 0170  6    "Almost Like Being In Love", "Do It Again", "Born to
C08 0180  7    Wander", "Alone Together", "Who Cares?", "Puttin' on
C08 0190  5    the Ritz", "How Long Has This Been Going On?" and her
C08 0200  9    own personal songs like "The Man That Got Away", and
C08 0210  8    the inevitable "Over the Rainbow".
C08 0220  2       Miss Garland is not only one of the great singers
C08 0230  1    of our time but she is one of the superb showmen. At
C08 0230 13    the start of her program there were evidences of pique.
C08 0240  8    She had held to the letter of her contract and didn't
C08 0250  6    come onto the stage until well after 4 p&m&, the appointed
C08 0260  4    hour, although the Music at Newport people had tried
C08 0270  2    to get the program underway at 3. Then there was a
C08 0270 13    bad delay in getting Mort Lindsey's 30-piece orchestra
C08 0280  8    wedged into its chairs.
C08 0290  1       Along about 4:30, just when it was getting to be
C08 0290 11    about time to turn the audience over and toast them
C08 0300  9    on the other side, Judy came on singing, in a short-skirted
C08 0310  8    blue dress with a blue and white jacket that flapped
C08 0320  3    in the wind. Her bouffant coiffure was fortunately
C08 0330  1    combed on the left which happened to be the direction
C08 0330 11    from which a brisk breeze was blowing.
C08 0340  4       In her first song she waved away one encroaching
C08 0350  2    photographer who dared approach the throne unbidden
C08 0350  9    and thereafter the boys with the cameras had to unsheathe
C08 0360  9    their 300 mm& lenses and shoot at extreme range.
C08 0370  6       There also came a brief contretemps with the sound
C08 0380  4    mixers who made the mistake of being overheard during
C08 0390  1    a quiet moment near the conclusion of "Do It Again",
C08 0390 11    and she made the tart observation that "I never saw
C08 0400 10    so much moving about in an audience".
C08 0410  4       But it didn't take Judy Garland, showman, long to
C08 0420  3    realize that this sort of thing was par for the course
C08 0420 14    at Newport and that you have to learn to live with
C08 0430 11    it. Before her chore was finished she was rescuing
C08 0440  6    wind-blown sheets of music, trundling microphones about
C08 0450  3    the stage, helping to move the piano and otherwise
C08 0450 12    joining in the informal atmosphere.
C08 0460  5       And time after time she really belted out her songs.
C08 0470  5    Sometimes they struck me as horribly over-arranged-
C08 0480  3    which was the way I felt about her "Come Rain or Come
C08 0490  1    Shine"- and sometimes they were just plain magnificent,
C08 0490  8    like her shatteringly beautiful "Beautiful Weather".
C08 0500  5       To her partisan audience, such picayune haggling
C08 0510  5    would have seemed nothing more than a critic striving
C08 0520  4    to hold his franchise; they just sat back on their
C08 0530  1    haunches and cried for more, as though they could never
C08 0530 11    get enough.
C08 0540  1       They were rewarded with splendid, exciting, singing.
C08 0540  8    Her "Rockabye Your Baby" was as good as it can be done,
C08 0550 11    and her really personal songs, like "The Man That Got
C08 0560  8    Away" were deeply moving.
C08 0570  1       The audience wouldn't let her leave until it had
C08 0570 10    heard "Over The Rainbow"- although the fellow that
C08 0580  8    kept crying for "Get Happy" had to go home unhappy,
C08 0590  8    about that item anyway. She was generous with her encores
C08 0600  6    and the audience was equally so with its cheers and
C08 0610  4    applause and flowers.
C08 0610  7       All went home happy except the Newport police, who
C08 0620  5    feared that the throng departing at 6:35 might meet
C08 0630  3    head-on the night crowd drawing nigh, and those deprived
C08 0630 13    of their happy hour at the cocktail bar.
C08 0650  1       In Newport last night there were flashes of distant
C08 0650 10    lightning in the northern skies. This was perhaps symbolic
C08 0660  9    of the jazz of the evening- flashes in the distance,
C08 0670  5    but no storm.
C08 0670  8       Several times it came near breaking, and there were
C08 0680  8    in fact some lovely peals of thunder from Jerry Mulligan's
C08 0690  4    big band, which is about as fine an aggregation as
C08 0700  2    has come along in the jazz business since John Hammond
C08 0710  1    found Count Basie working in a Kansas City trap.
C08 0710 10       Mulligan's band has been infected with his solid
C08 0720  8    sense of swing, and what it does seems far more meaningful
C08 0730  6    than most of the noise generated by the big concert
C08 0740  3    aggregations.
C08 0740  4       But what is equally impressive is the delicacy and
C08 0750  4    wonderful lyric quality of both the band and Mulligan's
C08 0760  1    baritone sax in a fragile ballad like Bob Brookmeyer's
C08 0760 10    arrangement of "Django's Castle".
C08 0770  4       For subtle swinging rhythms, I could admire intensely
C08 0780  5    Mulligan's version of "Weep", and the fireworks went
C08 0790  4    on display in "18 Carrots for Robert", a sax tribute
C08 0800  2    to Johnny Hodges.
C08 0800  5       There was considerable contrast between this Mulligan
C08 0810  4    performance and that of Art Blakey and The Jazz Messengers,
C08 0820  3    who are able to generate a tremendous sound for such
C08 0830  1    a small group. Unfortunately, Blakey doesn't choose
C08 0830  8    to work much of the time in this vein. He prefers to
C08 0840 10    have his soloist performing and thus we get only brief
C08 0850  7    glimpses of what his ensemble work is like.
C08 0860  1       What we did get, however, was impressive.
C08 0860  8       A few drops of rain just before midnight, when Sarah
C08 0870  8    Vaughan was in the midst of her first number, scattered
C08 0880  5    the more timid members of the audience briefly, but
C08 0890  2    at this hour and with Sarah on the stand, most of the
C08 0890 14    listeners didn't care whether they got wet.
C08 0900  7       Miss Vaughan was back in top form, somehow mellowed
C08 0910  6    and improved with the passage of time- like a fine
C08 0920  6    wine. After the spate of female vocalists we have been
C08 0930  1    having, all of whom took Sarah as a point of departure
C08 0930 12    and then tried to see what they could do that might
C08 0940  9    make her seem old hat, it seemed that all that has
C08 0950  5    happened is to make the real thing seem better than
C08 0960  1    ever.
C08 0960  2    #JAZZ THREE OPEN PROGRAM#
C08 0960  6    The evening program was opened by the Jazz Three, a
C08 0970  6    Newport group consisting of Steve Budieshein on bass,
C08 0980  3    Jack Warner, drums, and Don Cook, piano. This was a
C08 0990  1    continuation of a good idea which was first tried out
C08 0990 11    Saturday night when the Eddie Stack group, also local
C08 1000  8    talent, went on first.
C08 1010  1       Putting on local musicians at this place in the
C08 1010  9    program serves a triple purpose: it saves the top flight
C08 1020  7    jazz men from being wasted in this unenviable spot,
C08 1030  4    when the audience is cold, restless, and in flux; it
C08 1040  2    prevents late-comers from missing some of the people
C08 1040 11    they have come a long way to hear, and it gives the
C08 1050 11    resident musicians a chance to perform before the famous
C08 1060  6    Newport audience.
C08 1060  8       The Jazz Three displayed their sound musicianship,
C08 1070  5    not only in their own chosen set, but as the emergency
C08 1080  5    accompanists for Al Minns + Leon James, the superb
C08 1090  2    jazz dancers who have now been Newport performers for
C08 1090 11    three successive years, gradually moving up from a
C08 1100  8    morning seminar on the evolution of the blues to a
C08 1110  6    spot on the evening program.
C08 1110 11    #JULIE WILSON SINGS#
C08 1120  2    Julie Wilson, a vigorous vocalist without many wild
C08 1120 10    twists, sang a set, a large part of which consisted
C08 1130 10    of such seldom heard old oldies as "Hard-Hearted Hannah,
C08 1140  6    the Vamp of Savannah", and the delightful "Sunday".
C08 1150  4    She frosted the cake with the always reliable "Bill
C08 1160  2    Bailey".
C08 1160  3       From this taste of the 1920s, we leaped way out
C08 1170  4    to Stan Getz's private brand of progressive jazz, which
C08 1180  2    did lovely, subtle things for "Baubles, Bangles and
C08 1180 10    Beads", and a couple of ballards.
C08 1190  6       Getz is a difficult musician to categorize. He plays
C08 1200  3    his sax principally for beauty of tone, rather than
C08 1210  1    for scintillating flights of meaningless improvisations,
C08 1210  7    and he has a quiet way of getting back and restating
C08 1220  9    the melody after the improvising is over. In this he
C08 1230  6    is sticking with tradition, however far removed from
C08 1240  2    it he may seem to be.
C08 1240  8    #SHEARING TAKES OVER#
C08 1240 11    George Shearing took over with his well disciplined
C08 1250  7    group, a sextet consisting of vibes, guitar, bass,
C08 1260  4    drums, Shearing's piano and a bongo drummer. He met
C08 1270  3    with enthusiastic audience approval, especially when
C08 1270  9    he swung from jazz to Latin American things like the
C08 1280  9    Mambo. Shearing, himself, seemed to me to be playing
C08 1290  7    better piano than in his recent Newport appearances.
C08 1300  2       A very casual, pleasant program- one of those easy-going
C08 1310  3    things that make Newport's afternoon programs such
C08 1310 10    a relaxing delight- was held again under sunny skies,
C08 1320  9    hot sun, and a fresh breeze for an audience of at least
C08 1330  8    a couple of thousands who came to Newport to hear music
C08 1340  6    rather than go to the beach.
C08 1340 12       Divided almost equally into two parts, it consisted
C08 1350  8    of "The Evolution of the Blues", narrated by Jon Hendricks,
C08 1360  7    who had presented it last year at the Monterey, Calif&,
C08 1370  6    Jazz Festival, and an hour-long session of Maynard
C08 1380  3    Ferguson and his orchestra, a blasting big band.
C08 1390  1       Hendricks' story was designed for children and he
C08 1390  9    had a small audience of small children right on stage
C08 1400  8    with him. Tracing the blues from its African roots
C08 1410  5    among the slaves who were brought to this country and
C08 1420  2    the West Indies, he stressed the close relationship
C08 1420 10    between the early jazz forms and the music of the Negro
C08 1430 11    churches.
C08 1430 12    #SURPRISE ADDITION#
C08 1440  2    To help him on this religious aspect of primitive jazz
C08 1450  1    he had "Big" Miller, as a preacher-singer and Hannah
C08 1450 11    Dean, Gospel-singer, while Oscar Brown Jr&, an extremely
C08 1460  7    talented young man, did a slave auctioneer's call,
C08 1470  7    a field-hands' work song, and a beautifully sung Negro
C08 1480  5    lullaby, "Brown Baby", which was one of the truly moving
C08 1490  4    moments of the festival.
C08 1490  8       One of those delightful surprise additions, which
C08 1500  4    so frequently occur in jazz programs, was an excellent
C08 1510  4    stint at the drums by the great Joe Jones, drumming
C08 1520  1    to "Old Man River", which seems to have been elected
C08 1520 11    the favorite solo for the boys on the batterie at this
C08 1530 10    year's concerts.
C08 1540  1       Demonstrating the primitive African rhythmic backgrounds
C08 1540  7    of the Blues was Michael Babatunde Olatunji, who plays
C08 1550  7    such native drums as the konga and even does a resounding
C08 1560  8    job slapping his own chest. He has been on previous
C08 1570  5    Newport programs and was one of the sensations of last
C08 1580  2    year's afternoon concerts.
C08 1580  5       Hendricks had Billy Mitchell, tenor sax; Pony Poindexter,
C08 1590  4    alto sax; Jimmy Witherspoon, blues singer (and a good
C08 1600  6    one), and the Ike Isaacs Trio, which has done such
C08 1610  2    wonderful work for two afternoons now, helping him
C08 1610 10    with the musical examples.
C08 1620  2       It all went very well.
C08 1630  1       PIANISTS who are serious about their work are likely
C08 1630 10    to know the interesting material contained in Schubert's
C08 1640  7    Sonatas. Music lovers who are not familiar with this
C08 1650  8    literature may hear an excellent example, played for
C08 1660  4    ~RCA by Emil Gilels. He has chosen Sonata Op& 53 in
C08 1670  4    ~D. The playing takes both sides of the disc. Perhaps
C08 1680  1    one of the reasons these Sonatas are not programmed
C08 1680 10    more often is their great length. Rhythmic interest,
C08 1690  7    melodic beauty and the expansiveness of the writing
C08 1700  4    are all qualities which hold one's attention with the
C08 1710  3    Gilels playing. His technique is ample and his musical
C08 1710 12    ideas are projected beautifully.
C08 1720  4       The male chorus of the Robert Shaw Chorale sings
C08 1730  4    Sea Shanties in fine style. The group is superbly trained.
C08 1740  2    What a discussion can ensue when the title of this
C08 1740 12    type of song is in question. Do you say chantey, as
C08 1750 11    if the word were derived from the French word chanter,
C08 1760  6    to sing, or do you say shanty and think of a roughly
C08 1770  4    built cabin, which derives its name from the French-Canadian
C08 1780  1    use of the word chantier, with one of its meanings
C08 1780 11    given as a boat-yard? I say chantey. Either way, the
C08 1790 10    Robert Shaw chorus sings them in fine style with every
C08 1800  8    colorful word and its musical frame spelled out in
C08 1810  4    terms of agreeable listening. If your favorite song
C08 1820  1    is not here it must be an unfamiliar one.
C08 1820 10       The London label offers an operatic recital by Ettore
C08 1830  6    Bastianini, a baritone whose fame is international.
C09 0010  1       MURRAY LOUIS and his dance company appeared at the
C09 0010 10    Henry Street Playhouse on Friday and Saturday evenings
C09 0020  8    and Sunday afternoons in the premiere of his latest
C09 0030  7    work, "Signal", and the repetition of an earlier one,
C09 0040  5    "Journal".
C09 0040  6       "Signal" is choreographed for three male dancers
C09 0050  5    to an electronic score by Alwin Nikolais. Its abstract
C09 0060  3    decor is by John Hultberg. Program note reads as follows:
C09 0070  3       "Take hands **h this urgent visage beckons us".
C09 0080  1       Here, as in "Journal", Mr& Louis has given himself
C09 0090  1    the lion's share of the dancing, and there is no doubt
C09 0090 12    that he is capable of conceiving and executing a wide
C09 0100  8    variety of difficult and arresting physical movements.
C09 0110  3    Indeed, both "Journal" and "Signal" qualify as instructive
C09 0120  4    catalogues of modern-dance calisthenics.
C09 0130  1       But chains of movements are not necessarily communicative,
C09 0130  9    and it is in the realm of communication that the works
C09 0140 11    prove disappointing. One frequently has the feeling
C09 0150  6    that the order of their movement combinations could
C09 0160  2    be transposed without notable loss of effect, there
C09 0160 10    is too little suggestion of organic relationship and
C09 0170  8    development.
C09 0180  1       It may be, of course, that Mr& Louis is consciously
C09 0180 11    trying to create works that anticipate an age of total
C09 0190  8    automation. But it may be, also, that he is merely
C09 0200  6    more mindful of athletics than of esthetics at the
C09 0210  3    present time. One thing is certain, however, and that
C09 0210 12    is that he is far more slavish to the detailed accents,
C09 0220 10    phrasings and contours of the music he deals with than
C09 0230  8    a confident dance creator need be. @
C09 0240  1    #'AN AMERICAN JOURNEY'#
C09 0240  4    A brisk, satirical spoof of contemporary American mores
C09 0250  3    entitled "An American Journey" was given its first
C09 0260  2    New York performance at Hunter College Playhouse last
C09 0260 10    night by the Helen Tamiris-Daniel Nagrin Dance Company.
C09 0270  9    Choreographed by Mr& Nagrin, the work filled the second
C09 0280  9    half of a program that also offered the first New York
C09 0290  7    showing of Miss Tamiris' "Once Upon a Time **h" as
C09 0300  6    well as her "Women's Song" and Mr& Nagrin's "Indeterminate
C09 0310  4    Figure".
C09 0310  5       Eugene Lester assembled a witty and explicit score
C09 0320  7    for "An American Journey", and Malcolm McCormick gave
C09 0330  5    it sprightly imaginative costumes.
C09 0340  1       Mr& Nagrin has described four "places", each with
C09 0340  9    its scenery and people, added two "diversions", and
C09 0350  7    concluded with "A Toccata for the Young", a refreshingly
C09 0360  7    underplayed interpretation of rock'n'roll dancing.
C09 0370  4       The "places" could be anywhere, the idiosyncrasies
C09 0390  1    and foibles observed there could be anybody's, and
C09 0400  1    the laugh is on us all. But we need not mind too much,
C09 0400 14    because Mr& Nagrin has expressed it through movement
C09 0410  7    that is diverting and clever almost all the way.
C09 0420  5       Miss Tamiris' "Once Upon a Time **h" is a problem
C09 0430  5    piece about a man and a woman and the three "figures"
C09 0440  1    that bother them somehow.
C09 0440  5       Unfortunately, the man and woman were not made to
C09 0450  6    appear very interesting at the outset and the menacing
C09 0460  2    figures failed to make them any more so. Nor did the
C09 0460 13    dancing involved really seize the attention at any
C09 0470  8    time. The music here, Russell Smith's "Tetrameron",
C09 0480  3    sounded good.
C09 0480  5       All the performances of the evening were smooth
C09 0490  6    and assured, and the sizable company, with Mr& Nagrin
C09 0500  4    and Marion Scott as its leading dancers, seemed to
C09 0510  2    be fine shape.
C09 0520  1       THE Symphony of the Air, greatly assisted by Van
C09 0520 10    Cliburn, last night got its seven-concert Beethoven
C09 0530  8    cycle at Carnegie Hall off to a good start. At the
C09 0540  8    same time the orchestra announced that next season
C09 0550  3    it would be giving twenty-five programs at Carnegie,
C09 0550 12    and that it would be taking these concerts to the suburbs,
C09 0560 11    repeating each of them in five different communities.
C09 0570  7       This news, announced by Jerome Toobin, the orchestra's
C09 0580  6    administrative director, brought applause from the
C09 0590  4    2,800 persons who filled the hall. They showed they
C09 0600  1    were glad that Carnegie would have a major orchestra
C09 0600 10    playing there so often next season to take up the slack
C09 0610 10    with the departure to Lincoln Center of the New York
C09 0620  6    Philharmonic, the Philadelphia Orchestra and the Boston
C09 0630  4    Symphony.
C09 0630  5       This season the orchestra has already taken a step
C09 0640  4    toward the suburbs in that it is giving six subscription
C09 0650  1    concerts for the Orchestral Society of Westchester
C09 0650  8    in the County Center in White Plains. The details of
C09 0660  8    the suburban concerts next season, and the centers
C09 0670  6    in which they will be given, will be announced later,
C09 0680  2    Mr& Toobin said.
C09 0680  5    #@#
C09 0680  6    The concertos that Van Cliburn has been associated
C09 0690  5    with in New York since his triumphant return from Russia
C09 0700  3    in 1958 have been the Tchaikovsky, the Rachmaninoff
C09 0710  1    Third, and the Prokofieff Third. It was pleasant last
C09 0710 10    night, therefore, to hear him do something else: a
C09 0720  8    concerto he has recently recorded, "The Emperor".
C09 0730  3       The young Texas pianist can make great chords ring
C09 0740  4    out as well as anyone, so last night the massive sonorities
C09 0750  1    of this challenging concerto were no hazard to him.
C09 0750 10    But they were not what distinguished his performance.
C09 0760  7    The elements that did were the introspective slow movement,
C09 0770  6    the beautiful transition to the third movement, and
C09 0780  4    the passages of filigree that laced through the bigger
C09 0790  1    moments of the opening movement and the final Rondo.
C09 0790 10       Mr& Cliburn gave the slow movement some of the quality
C09 0800 10    of a Chopin Nocturne. Alfred Wallenstein, the conductor,
C09 0810  5    sensitive accompanist that he is, picked up the idea
C09 0820  7    and led the orchestra here with a sense of broodinf,
C09 0830  2    poetic mystery. The collaboration was remarkable, as
C09 0830  9    it was in both the other movements, too.
C09 0840  7    #@#
C09 0840  8    Mr& Wallenstein, who will lead all of the concerts
C09 0850  7    in the cycle, also conducted the "Leonore" Overture
C09 0860  2    No& 3 and the Fourth Symphony. The orchestra was obviously
C09 0870  3    on its mettle and it played most responsively. And
C09 0870 12    although there was plenty of vigor in the performance,
C09 0880  9    the ensemble was at its best when the playing was soft
C09 0890  8    and lyrical, yet full of the suppressed tension that
C09 0900  3    is one of the hallmarks of Beethoven. Igor Oistrakh
C09 0910  1    will be the next soloist on Feb& 4.
C09 0920  1       THERE are times when one suspects that the songs
C09 0920 10    that are dropped from musical shows before they reach
C09 0930  8    Broadway may really be better than many of those that
C09 0940  7    are left in. Today, in the era of the integrated musical
C09 0950  3    when an individual song must contribute to the over-all
C09 0960  1    development of the show, it is understandable that
C09 0960  9    a song, no matter how excellent it may be on its own
C09 0970  9    terms, is cut out because it does not perform the function
C09 0980  5    required of it.
C09 0980  8       In the more casually constructed musicals of the
C09 0990  5    Nineteen Twenties and Nineteen Thirties there would
C09 1000  3    seem to have been less reason for eliminating a song
C09 1010  1    of merit. Yet there is the classic case of the Gershwins'
C09 1010 12    "The Man I Love". Deemed too static when it was first
C09 1020 11    heard in "Lady Be Good" in Philadelphia in 1924, it
C09 1030  8    was dropped from the score. It was heard again in Philadelphia
C09 1040  7    in 1927 in the first version of "Strike Up the Band"
C09 1050  6    and again abandoned shortly before the entire show
C09 1060  3    was given up. It finally reached Broadway in the second
C09 1070  1    and successful version of "Strike Up the Band" in 1929.
C09 1070 11    (Still another song in "Strike Up the Band"- "I've
C09 1080  9    Got a Crush on You"- was retrieved from a 1928 failure,
C09 1090  9    "Treasure Girl".)
C09 1100  1    #SECOND CHANCE#
C09 1100  3    Like the Gershwins, Richard Rodgers and Lorenz Hart
C09 1110  3    were loath to let a good song get away from them. If
C09 1110 15    one of Mr& Rodgers' melodies seemed to deserve a better
C09 1120 10    fate than interment in Boston or the obscurity of a
C09 1130  9    Broadway failure, Mr& Hart was likely to deck it out
C09 1140  7    with new lyrics to give it a second chance in another
C09 1150  3    show.
C09 1150  4       Several of these double entries have been collected
C09 1160  2    by Ben Bagley and Michael McWhinney, along with Rodgers
C09 1170  1    and Hart songs that disappeared permanently en route
C09 1170  9    to New York and others that reached Broadway but have
C09 1180  8    not become part of the constantly heard Rodgers and
C09 1190  4    Hart repertory, in a delightfully refreshing album,
C09 1200  2    Rodgers and Hart Revisited (Spruce Records, 505 Fifth
C09 1210  1    Avenue, New York).
C09 1210  4       Among the particular gems in this collection is
C09 1220  2    the impudent opening song of "The Garrick Gaieties",
C09 1230  1    an impressive forecast of the wit and melody that were
C09 1230 11    to come from Rodgers and Hart in the years that followed;
C09 1240  9    Dorothy Loudon's raucous listing of the attractions
C09 1250  6    "At the Roxy Music Hall" from "I Married an Angel";
C09 1260  5    and the incisive style with which Charlotte Rae delivers
C09 1270  3    the top-drawer Hart lyrics of "I Blush", a song that
C09 1280  4    was cut from "A Connecticut Yankee".
C09 1280 10       Altogether fifteen virtually unknown Rodgers and
C09 1290  6    Hart songs are sung by a quintet of able vocalists.
C09 1300  6    Norman Paris has provided them with extremely effective
C09 1310  2    orchestral accompanimen
C09 1310  4       Turning to the current musical season on Broadway,
C09 1320  5    the most widely acclaimed of the new arrivals, How
C09 1330  2    to Succeed in Business Without Really Trying, has been
C09 1340  3    transferred to an original cast album (R& C& A& Victor
C09 1350  1    ~LOC 1066; stereo ~LSO 1066) that has some entertaining
C09 1360  1    moments, although it is scarcely as inventive as the
C09 1360 10    praise elicited by the show might lead one to expect.
C09 1370  9    Robert Morse, singing with comically plaintive earnestness,
C09 1380  3    carries most of the burden and is responsible for the
C09 1390  3    high spots in Frank Loesser's score.
C09 1390  9       Rudy Vallee, who shares star billing with Mr& Morse,
C09 1400  9    makes only two appearances. He shares with Mr& Morse
C09 1410  7    a parody of the college anthems he once sang while
C09 1420  5    his second song is whisked away from him by Virginia
C09 1430  1    Martin, a girl with a remarkably expressive yip in
C09 1430 10    her voice. In general, Mr& Loesser has done a more
C09 1440  9    consistent job as lyricist than he has as composer.
C09 1450  6       Like Mr& Loesser, Jerry Herman is both composer
C09 1460  4    and lyriist for Milk and Honey (R& C& A& Victor ~LOC
C09 1470  4    1065; stereo ~LSO 1065), but in this case it is the
C09 1480  5    music that stands above the lyrics. For this story
C09 1480 14    of an American couple who meet and fall in love in
C09 1490 11    Israel, Mr& Herman has written songs that are warmly
C09 1500  7    melodious and dance music that sparkles.
C09 1510  1    #RESOURCEFUL VOICES#
C09 1510  3    There are the full-bodied, resourceful voices of Robert
C09 1520  4    Weede, Mimi Benzell and Tommy Rall to make the most
C09 1530  2    of Mr& Herman's lilting melodies and, for an occasional
C09 1540  1    change of pace, the bright humor of Molly Picon. Mr&
C09 1540 11    Herman has managed to mix musical ideas drawn from
C09 1550  8    Israel and the standard American ballad style in a
C09 1560  5    manner that stresses the basic tunefulness of both
C09 1570  1    idioms.
C09 1570  2       Not content to create only the music and lyrics,
C09 1570 11    Noe^l Coward also wrote the book and directed Sail
C09 1580  9    Away (Capitol ~WAO 1643; stereo ~SWAO 1643), a saga
C09 1590  8    of life on a cruise ship that is not apt to be included
C09 1600 10    among Mr& Coward's more memorable works. The melodies
C09 1610  5    flow along pleasantly, as Mr& Coward's songs usually
C09 1620  3    do, but his lyrics have a tired, cut-to-a-familiar-pattern
C09 1630  1    quality. Elaine Stritch, who sings with a persuasively
C09 1640  1    warm huskiness, belts some life into most of her songs,
C09 1640 11    but the other members of the cast sound as lukewarm
C09 1650  8    as Mr& Coward's songs.
C09 1660  1       WITH three fine Russian films in recent months on
C09 1660 10    World War /2,- "The House I Live In", "The Cranes Are
C09 1670 11    Flying" and "Ballad of a Soldier"- we had every right
C09 1680 10    to expect a real Soviet block-buster in "The Day the
C09 1690 10    War Ended". It simply isn't, not by a long shot. The
C09 1700  9    Artkino presentation, with English titles, opened on
C09 1710  4    Saturday at the Cameo Theatre.
C09 1710  9    #@#
C09 1720  1    Make no mistake, this Gorky Studio drama is a respectable
C09 1720 11    import- aptly grave, carefully written, performed and
C09 1730  4    directed. In describing the initial Allied occupation
C09 1740  2    of a middle-sized German city, the picture has color,
C09 1740 12    pictorial pull and genuinely moving moments. Told strictly
C09 1750  8    from the viewpoint of the Russian conquerors, the film
C09 1760  7    compassionately peers over the shoulders of a smitten
C09 1770  6    Soviet couple, at both sides of the conflict's aftermath.
C09 1780  2       Unfortunately, the whole picture hinges on this
C09 1790  1    romance, at the expense of everything else. Tenderly
C09 1790  9    and rather tediously, the camera rivets on the abrupt,
C09 1800  7    deep love of a pretty nurse and a uniformed teacher,
C09 1810  5    complicated by nothing more than a friend they don't
C09 1820  2    want to hurt. It's the old story, war or no war, and
C09 1820 14    more than one viewer may recall Hollywood's "Titanic",
C09 1830  8    several seasons back, when the paramount concern was
C09 1840  7    for the marital discord of a society dilettante.
C09 1850  4       Not that the picture is superficial. Under Yakov
C09 1860  2    Segal's direction, it begins stirringly, as crouching
C09 1860  9    Soviet and Nazi troops silently scan each other, waiting
C09 1870  9    for the first surrender gesture. One high-up camera
C09 1880  7    shot is magnificent, as the Germans straggle from a
C09 1890  4    cathedral, dotting a huge, cobblestone square, and
C09 1900  2    drop their weapons.
C10 0010  1    #RING OF BRIGHT WATER, BY GAVIN MAXWELL. 211 PAGES.
C10 0010 10    DUTTON. $5.#
C10 0020  1    Only once in a very long while comes a book that gives
C10 0030 12    the reader a magic sense of sharing a rare experience.
C10 0040  7    "Ring of Bright Water" by Gavin Maxwell is just that-
C10 0050  6    a haunting, warmly personal chronicle of a man, an
C10 0060  5    otter, and a remote cottage in the Scottish West Highlands.
C10 0070  1       "He has married me with **h a ring of bright water",
C10 0090  1    begins the Kathleen Raine poem from which Maxwell takes
C10 0090 10    his title, and it is this mystic bond between the human
C10 0100 10    and natural world that the author conveys. The place
C10 0110  5    is Camusfearna, the site of a long-vanished sea-village
C10 0120  3    opposite the isle of Skye. It is a land of long fjords,
C10 0130  1    few people, a single-lane road miles away- and of wild
C10 0130 12    stags, Greylag geese, wild swans, dolphins and porpoises
C10 0140  7    playing in the waters. How Maxwell recounts his first
C10 0150  6    coming to Camusfearna, his furnishing the empty house
C10 0160  4    with beach-drift, the subtle changes in season over
C10 0170  1    ten years, is a moving experience. Just the evocations
C10 0170 10    of time and place, of passionate encounter between
C10 0180  6    man and a natural world which today seems almost lost,
C10 0190  4    would be enough.
C10 0190  7       But it isn't. There is Mijbil, an otter who travelled
C10 0200  7    with Maxwell- and gave Maxwell's name to a new species-
C10 0210  6    from the Tigris marshes to his London flat. It may
C10 0220  4    sound extravagant to say that there has never been
C10 0220 13    a more engaging animal in all literature. This is not
C10 0230  9    only a compliment to Mijbil, of whom there are a fine
C10 0240  8    series of photographs and drawings in the book, but
C10 0250  5    to the author who has catalogued the saga of a frightened
C10 0260  1    otter cub's journey by plane from Iraq to London, then
C10 0260 11    by train (where he lay curled in the wash basin playing
C10 0270 10    with the water tap) to Camusfearna, with affectionate
C10 0280  5    detail.
C10 0280  6       Mij, as his owner was soon to learn, had strange,
C10 0290  7    inexplicable habits. He liked to nip ear lobes of unsuspecting
C10 0300  5    visitors with his needle-sharp teeth. He preferred
C10 0310  1    sleeping in bed with his head on a pillow. Systematically
C10 0310 11    he would open and ransack drawers. Given a small ball
C10 0320 10    or marbles, he would invent games and play by himself
C10 0330  7    for hours. With curiosity and elan, he explored every
C10 0340  4    inch of glen, beach and burn, once stranding himself
C10 0350  1    for hours on a ledge high up a sheer seventy-foot cliff
C10 0350 13    and waiting with calm faith to be rescued by Maxwell,
C10 0360  9    who nearly lost his life in doing so.
C10 0370  4       A year and a day of this idyll is described for
C10 0370 15    the reader, one in which not only discovery of a new
C10 0380 11    world of personality is charted, but self-discovery
C10 0390  6    as well. In the solitude of Camusfearna there had been
C10 0400  4    no loneliness. "To be quite alone where there are no
C10 0410  3    other human beings is sharply exhilarating; it is as
C10 0410 12    though some pressure had suddenly been lifted, allowing
C10 0420  7    an intense awareness **h a sharpening of the senses".
C10 0430  6       Now, with the increasing interdependence between
C10 0440  2    himself and Mij came a knowledge of an obscure need,
C10 0450  1    that of being trusted implicitly by some creature.
C10 0450  9    Two other people in time shared Mijbil's love: "**h
C10 0460  7    it remained around us three that his orb revolved when
C10 0470  6    he was not away in his own imponderable world of wave
C10 0480  4    and water **h; we were his Trinity, and he behaved
C10 0490  1    towards us **h with a mixture of trust and abuse, passion
C10 0490 12    and irritation. In turn each of us in our own way depended,
C10 0500 11    as gods do, upon his worship".
C10 0520  1       Yet the idyll ended. The brief details of Mijbil's
C10 0530  1    death lend depth to the story, give it an edge of ironic
C10 0530 13    tragedy. Man, to whom Mij gave endless affection and
C10 0540  9    fealty, was responsible in the form of a road worker
C10 0550  8    with a pickaxe who somehow becomes an abstract symbol
C10 0560  2    of the savage in man. But then, through a strange coincidence,
C10 0570  1    Maxwell manages to acquire Idal, a female otter, and
C10 0570 10    the fascinating story starts once more.
C10 0580  5       One is not sure who emerges as the main personality
C10 0590  4    of this book- Mijbil, with his rollicking ways, or
C10 0600  2    Maxwell himself, poet, portrait painter, writer, journalist,
C10 0600  9    traveller and zoologist, sensitive but never sentimental
C10 0610  7    recorder of an unusual way of life, in a language at
C10 0620  9    once lyrical and forceful, vivid and unabashed. This
C10 0630  4    reviewer read the book when it was first brought out
C10 0640  2    in England with a sense of discovery and excitement.
C10 0640 11    Now Gavin Maxwell's ring of bright water has widened
C10 0650  8    to enchant the world.
C10 0660  1    _NEW YORK_
C10 0660  3       - The performances of the Comedie Francaise are
C10 0660 10    the most important recent events in the New York theater.
C10 0670 10       They serve to contradict a popular notion that the
C10 0680  9    Comedie merely repeats, as accurately as possible,
C10 0690  5    the techniques of acting the classics that prevailed
C10 0700  2    in the 17th century. On the contrary, the old plays
C10 0700 12    are continually being reinterpreted, and each new production
C10 0710  7    of a classic has only a brief history at the Comedie.
C10 0720  8       Of course, the well-received revivals last longer
C10 0730  4    than the others, and that further reminds us that the
C10 0740  4    Comedie is not insensitive to criticism. The directors
C10 0740 12    of the Comedie do not respond to adverse notices in
C10 0750 10    as docile and subservient a manner as the Broadway
C10 0760  6    producers who, in two instances this season, closed
C10 0770  3    their plays after one performance. But they are aware
C10 0780  1    of the world outside, they court public approval, they
C10 0780 10    delight in full houses, and they occasionally dare
C10 0790  6    to experiment in interpreting a dramatic classic.
C10 0800  2       In France, novel approaches to the classic French
C10 0810  1    plays are frequently attempted. The government pays
C10 0810  8    a subsidy for revival of the classics, and this policy
C10 0820  9    attracts experimenters who sometimes put Moliere's
C10 0830  4    characters in modern dress and often achieve interesting
C10 0840  2    results.
C10 0840  3       So far as I know, the Comedie has never put Moliere's
C10 0850  3    people in the costumes of the 20th century, but they
C10 0860  2    do reinterpret plays and characters. Last season, the
C10 0860 10    Comedie's two principal experiments came to grief,
C10 0870  7    and, in consequence, we can expect fairly soon to see
C10 0880  6    still newer productions of Racine's "Phedre" and Moliere's
C10 0890  3    "School for Wives".
C10 0890  6       The new "Phedre" was done in 17th century setting,
C10 0900  8    instead of ancient Greek; perhaps that is the Comedie's
C10 0910  6    equivalent for thrusting this play's characters into
C10 0920  4    our own time. The speaking of the lines seemed excessively
C10 0930  2    slow and stately, possibly in an effort to capture
C10 0930 11    the spirit of 17th century elegance. A few literary
C10 0940  9    men defended what they took to be an emphasis on the
C10 0950  8    poetry at the expense of the drama, but the response
C10 0960  3    was mainly hostile and quite violent.
C10 0960  9       The new "School for Wives" was interpreted according
C10 0970  6    to a principle that is becoming increasingly common
C10 0980  5    in the playing of classic comedy- the idea of turning
C10 0990  4    some obviously ludicrous figure into a tragic character.
C10 1000  1       Among the Moliere specialists of some years ago,
C10 1000  9    Louis Jouvet tried to humanize some of the clowns,
C10 1010  9    while Fernand Ledoux, often performing at the Comedie,
C10 1020  6    made them more gross than Moliere may have intended.
C10 1030  3       Apparently, Jouvet and Ledoux attempted just these
C10 1040  2    dissimilar approaches in the role of Arnolphe in "The
C10 1040 11    School for Wives". I say "apparently" although I saw
C10 1050  9    Jouvet as Arnolphe when he visited this country shortly
C10 1060  8    before his death; by that time, he seemed to have dropped
C10 1070  8    the tragic playing of the last moments of the comedy.
C10 1080  4       Arnolphe, it will be recalled, is a man of mature
C10 1090  3    years who tries to preserve the innocence of his youthful
C10 1090 13    wife-to-be. The part can lend itself to serious treatment;
C10 1100  9    one influential French critic remarked: "Pity for Arnolphe
C10 1110  7    comes with age".
C10 1120  1       Accordingly, at the Comedie last year, Jean Meyer
C10 1120  9    played a sympathetic Arnolphe and drew criticism for
C10 1130  8    turning the comedy into a tragedy. But the stuff of
C10 1140  7    tragedy was not truly present and the play became only
C10 1150  4    comedy acted rather slowly.
C10 1150  8       Wisely, the Comedie has brought Moliere's "Tartuffe"
C10 1160  5    on its tour and has left "The School for Wives" at
C10 1170  6    home. Tartuffe is the religious hypocrite who courts
C10 1190  3    his benefactor's wife. Jouvet played him as a sincere
C10 1200  1    zealot, and Ledoux, at the Comedie, made him a gross
C10 1200 11    buffoon, or so the historians tell us.
C10 1210  6       Louis Seigner, who formerly played the deluded benefactor
C10 1220  4    opposite Ledoux, is the Tartuffe of the present production,
C10 1230  2    which he himself directed. His Tartuffe observes the
C10 1240  1    golden mean. His red face, his coarse gestures, and
C10 1240 10    his lustful stares bespeak his sensuality. But his
C10 1250  6    heavenward glances and his pious speeches are not merely
C10 1260  5    perfunctory; of course, they do not reflect sincerity,
C10 1270  2    but they exhibit a concern to make a good job out of
C10 1270 14    his pious impersonation.
C10 1280  3       Occasionally, Seigner draws some justly deserved
C10 1290  2    laughs by his quick shifts from one personality to
C10 1290 11    another. The whole role, by the way, is a considerable
C10 1300  9    transformation for anyone who has seen Seigner in his
C10 1310  7    other parts. His normal specialty is playing the good-natured
C10 1320  4    old man, frequently stupid or deluded but never mean
C10 1330  2    or sly. Here, he is, quite persuasively, the very embodiment
C10 1330 12    of meanness and slyness.
C10 1340  4       Seigner is the dean of the company, the oldest actor
C10 1350  3    in point of continuous service. In that function, he
C10 1350 12    helps to rebut another legend about the Comedie. We
C10 1360  9    are often told that the Comedie has, unfortunately,
C10 1370  5    life-contracts with old actors who are both mediocre
C10 1380  4    and lazy, drawing their pay without much acting but
C10 1390  1    probably doing real service to the Comedie by staying
C10 1390 10    off the stage. Seigner, however, is a fine actor and
C10 1400  8    probably the busiest man in the company; among his
C10 1410  4    other parts are the leads in "The Bourgeois Gentleman"
C10 1420  2    and "The Imaginary Invalid".
C10 1420  6       In Moliere's farce, "The Tricks of Scapin", Robert
C10 1430  7    Hirsch undertakes another of the great roles. Here
C10 1440  7    some innovation is attempted.
C10 1450  1       To begin with, Scapin is a trickster in the old
C10 1450 10    tradition of the clever servant who plots the strategy
C10 1460  6    of courtship for his master. Hirsch's Scapin is healthy,
C10 1470  4    cheerful, energetic, revelling in his physical agility
C10 1480  2    and his obvious superiority to the young gentlemen
C10 1480 10    whom he serves.
C10 1490  2       Hirsch says that he has given the role certain qualities
C10 1500  1    he has observed in the city toughs of the real world.
C10 1500 12    And surely his Scapin has a fresh directness, a no-nonsense
C10 1510 10    quality that seems to make him his own master and nobody's
C10 1520  8    servant.
C10 1530  1       DJANGO REINHARDT, the ill-fated gypsy, was a true
C10 1530 10    artist, one who demonstrated conclusively the power
C10 1540  7    of art to renew itself and flow into many channels.
C10 1550  5       There is hardly a jazz guitarist in the business
C10 1560  3    today who doesn't owe something to Django. And Django
C10 1570  1    owed much to Louis Armstrong. He told once of how he
C10 1570 12    switched his style of playing to jazz after listening
C10 1580  8    to two old Armstrong records he bought in the Flea
C10 1590  6    Market in Paris. It was the first jazz he had heard.
C10 1600  3       Django, who was born Jean Baptiste Reinhardt in
C10 1610  1    Belgium and who died in 1953 in France, was an extraordinary
C10 1610 12    man. Most of the fingers on his left hand were burned
C10 1620 10    off when he fell asleep with a cigarette. And this
C10 1630  6    was before he began to play his startlingly beautiful
C10 1640  2    jazz.
C10 1640  3       You can catch up with him- if you haven't already-
C10 1650  1    on ~RCA-Victor's album. "Djangology", made up of tracks
C10 1660  4    he recorded with Stephane Grappelly and the Quintet
C10 1660 12    of the Hot Club of France. This is a choice item and
C10 1670 12    Grappely deserves mention too, of course. He is one
C10 1680  8    of the few men in history who plays jazz on a violin.
C10 1690  6       They play: "Minor Swing", "Honeysuckle Rose", "Beyond
C10 1700  3    the Sea", "Bricktop", "Heavy Artillery", "Djangology",
C10 1710  3    "After You've Gone", "Where Are You, My Love"? "I Saw
C10 1720  7    Stars", "Lover Man", "Menilmontant" and "Swing 42".
C10 1730  5       All this is great proceedings- get the minutes.
C10 1740  4       Kid Ory, the trombonist chicken farmer, is also
C10 1750  4    one of the solid anchor points of jazz. He dates back
C10 1760  2    to the days before the first sailing ship pulled into
C10 1760 12    New Orleans. His horn has blown loud and clear across
C10 1770  9    the land for more years than he cares to remember.
C10 1780  6       Good Time Jazz has released a nice two-record album
C10 1790  4    which he made. He is starred against Alvin Alcorn,
C10 1800  1    trumpet; Phil Gomez, clarinet; Cedric Haywood, piano;
C10 1800  8    Julian Davidson, guitar; Wellman Braud, bass, and Minor
C10 1810  8    Hall, drums.
C10 1820  1       The set contains "High Society", "Do What Ory Say",
C10 1830  2    "Down Home Rag", "Careless Love", Jazz Me Blues", "Weary
C10 1840  2    Blues", "Original Dixieland One-Step", "Bourbon Street
C10 1850  2    Parade", "Panama", "Toot, Toot, Tootsie", "Oh Didn't
C10 1860  3    He Ramble", "Beale Street Blues", "Maryland, My Maryland",
C10 1870  3    "1919 Rag", "Eh, La Bas", "Mood Indigo", and "Bugle
C10 1880  4    Call Rag".
C10 1880  6       All this will serve to show off the Ory style in
C10 1890  8    fine fashion and is a must for those who want to collect
C10 1900  5    elements of the old-time jazz before it is too late
C10 1910  1    to lay hands on the gems.
C11 0010  1       MISCHA ELMAN shared last night's Lewisohn Stadium
C11 0010  8    concert with three American composers.
C11 0020  5       His portion of the program- and a big portion it
C11 0030  8    was- consisted of half the major nineteenth-century
C11 0040  1    concertos for the violin: to wit, the Mendelssohn and
C11 0040 10    the Tchaikovsky. That is an evening of music-making
C11 0050  9    that would faze many a younger man; Mr& Elman is 70
C11 0060  8    years old.
C11 0060 10       There were 8,000 persons at the Stadium who can
C11 0070  8    tell their grandchildren that they heard Elman. But,
C11 0080  4    with all due respects and allowances, it must truthfully
C11 0090  2    be said that what they heard was more syrupy than sweet,
C11 0100  1    more mannered than musical. The occasion was sentimental;
C11 0100  9    so was the playing.
C11 0110  2    #@#
C11 0110  3    The American part of the evening consisted of Paul
C11 0120  1    Creston's Dance Overture, William Schuman's "Chester"
C11 0130  1    from "New England Triptych" and two works of Wallingford
C11 0130 10    Riegger, Dance Rhythms, Op& 58, and a Romanza for Strings,
C11 0140  8    Op& 56~A.
C11 0150  1       The Creston is purely a potboiler, with Spanish,
C11 0150  9    English, French and American dances mixed into the
C11 0160  8    stew. The Riegger, with its Latin hesitation bounce,
C11 0170  6    is just this side of the pale; like his sweet, attractive
C11 0180  5    Romanza, it belongs to what the composer called his
C11 0190  3    "Non-Dissonant (Mostly)" category of works. The Schuman
C11 0200  1    "Chester" takes off from an old William Billings tune
C11 0200 10    with rousing woodwind and brass effect.
C11 0210  6    #@#
C11 0210  7    All these- potboilers or no- provided a welcome breath
C11 0220  7    of fresh air in the form of lively, colorful, unstuffy
C11 0230  3    works well suited for the great out-of-doors. It was
C11 0240  2    nice to have something a little up-to-date for a change.
C11 0240 14    We have Alfredo Antonini to thank for this healthy
C11 0250  8    change of diet as well as the lively performances of
C11 0260  6    the Stadium Symphony.
C11 0270  1       A WOMAN who undergoes artificial insemination against
C11 0270  8    the wishes of her husband is the unlikely heroine of
C11 0280 10    "A Question of Adultery", yesterday's new British import
C11 0290  5    at the Apollo.
C11 0300  1       Since an objective viewer might well conclude that
C11 0300  9    this is not a situation that would often arise, the
C11 0310  6    film's extensive discussion of the problem seems, at
C11 0320  4    best, superfluous. In its present artless, low-budget
C11 0330  1    form, the subject matter seems designed to invite censorial
C11 0330 10    wrath.
C11 0340  1       With Julie London enacting the central role with
C11 0340  9    husky-voiced sincerity, the longsuffering heroine is
C11 0360  6    at least attractive. The explanation offered for her
C11 0370  4    conduct is a misguided attempt to save her marriage
C11 0380  1    to a neurotic husband left sterile as a result of an
C11 0380 12    automobile accident.
C11 0390  2       Anthony Steel, as the husband, is a jealous type
C11 0400  1    who argues against her course and sues for divorce,
C11 0400 10    labeling her action adulterous. The actor plays his
C11 0410  6    role glumly under the lurid direction of Don Chaffey,
C11 0420  4    as do Basil Sydney as his unsympathetic father and
C11 0430  2    Anton Diffring as an innocent bystander.
C11 0430  8       After a protracted, hysterical trial scene more
C11 0440  5    notable for the frankness of its language than for
C11 0450  3    dramatic credibility, the jury, to no one's surprise,
C11 0460  1    leaves the legal question unresolved. When the husband
C11 0460  9    drops the case and returns to his wife, both seem sorry
C11 0470  9    they brought the matter up in the first place. So was
C11 0480  6    the audience.
C11 0490  1    _LONDON, JULY 4_
C11 0490  4       - For its final change of bill in its London season,
C11 0500  1    the Leningrad State Kirov Ballet chose tonight to give
C11 0500 10    one of those choreographic miscellanies known as a
C11 0510  8    "gala program" at the Royal Opera House, Covent Garden.
C11 0520  6    No doubt the underlying idea was to show that for all
C11 0530  7    the elegance and artistry that have distinguished its
C11 0540  2    presentations thus far, it too could give a circus
C11 0540 11    if it pleased.
C11 0550  1       And please it did, in every sense of the word, for
C11 0550 12    it had the audience shouting much of the time in a
C11 0560 10    manner far from typical of London audiences. At the
C11 0570  6    end of the program, indeed, there was a demonstration
C11 0580  2    that lasted for forty-five minutes, and nothing could
C11 0580 11    stop it. Alexandre Livshitz repeated a fantastic technical
C11 0600  2    bit from the closing number, "Taras Bulba", but even
C11 0610  1    then there was a substantial number of diehards who
C11 0610 10    seemed determined not to go home at all. Only a plea
C11 0620 10    from the house manager, John Collins, finally broke
C11 0630  3    up the party.
C11 0630  6    #@#
C11 0630  7    But for all the manifest intention to "show off", this
C11 0640  6    was a circus with a difference, for instead of descending
C11 0650  4    in quality to what is known as a popular level, it
C11 0660  2    added further to the evidence that this is a very great
C11 0660 13    dancing company.
C11 0670  1       The "Taras Bulba" excerpt is a rousing version of
C11 0680  1    Gogol's Ukrainian folk-tale choreographed by Bo Fenster
C11 0680  9    to music of Soloviev-Sedoi. It is danced by some thirty-five
C11 0690 11    men and no women, and it contains everything in the
C11 0700  7    books- lusty comedy, gregarious cavorting, and tricks
C11 0710  4    that only madmen or Russians would attempt to make
C11 0720  3    the human body perform. Yuri Soloviev, Oleg Sokolov,
C11 0720 11    Alexei Zhitkov, Lev Sokolov, Yuri Korneyev and Mr&
C11 0730  8    Livshitz were the chief soloists, but everybody on
C11 0740  6    stage was magnificent.
C11 0740  9    #@#
C11 0740 10    At the other extreme in character was the half-hour
C11 0750 10    excerpt from the Petipa-Minkus ballet "Bayaderka",
C11 0760  3    which opened the evening. What a man this Petipa was!
C11 0770  6    And why do we in the West know so few of his ballets?
C11 0780  3    This scene is a "white ballet" in which a lovelorn
C11 0790  1    hero searches for his departed love's spirit among
C11 0790  9    twenty-eight extraordinarily beautiful "shadows" who
C11 0800  4    can all dance like nothing human- which, of course,
C11 0810  6    is altogether fitting. The ensemble enters in a long
C11 0820  4    adagio passage that is of fantastic difficulty, as
C11 0820 12    well as loveliness, and adagio is the general medium
C11 0830  7    of the piece.
C11 0830 10    #@#
C11 0830 11    Its ballerina, Olga Moiseyeva, performs simple miracles
C11 0840  7    of beauty, and Ludmilla Alexeyeva, Inna Korneyeva and
C11 0850  6    Gabrielle Komleva make up a threesome of exquisite
C11 0860  6    accomplishments. Sergei Vikulov, as the lone male,
C11 0870  3    meets the competition well with some brilliant hits,
C11 0870 11    but the work is designed to belong to the ladies.
C11 0880  9       The middle section of the program was made up of
C11 0890  8    short numbers, naturally enough of unequal merit, but
C11 0900  3    all of them pretty good at that. They consisted of
C11 0900 13    a new arrangement of "Nutcracker" excerpts danced stunningly
C11 0910  7    by Irina Kolpakova and Mr& Sokolev, with a large ensemble;
C11 0920  9    a winning little "Snow Maiden" variation by the adorable
C11 0930  8    Galina Kekisheva; two of those poetic adagios in Greek
C11 0940  8    veils (and superb esthetic acrobacy) by Alla Osipenko
C11 0950  5    and Igor Chernishev in one case and Inna Zubkovskaya
C11 0960  2    and Yuri Kornevey in the other; an amusing character
C11 0970  1    pas de cinq called "Gossiping Women"; a stirring "Flames
C11 0980  1    of Paris" pas de deux by Xenia Ter-Stepanova and Alexandre
C11 0980 12    Pavlovsky, and a lovely version of Fokine's "Le Cygne"
C11 0990  9    by Olga Moiseyeva, which had to be repeated.
C11 1000  7       Vadim Kalentiev was the conductor.
C11 1010  2       It was quite an evening!
C11 1020  1       A YEAR ago today, when the Democrats were fretting
C11 1020 10    and frolicking in Los Angeles and John F& Kennedy was
C11 1030  9    still only an able and ambitious Senator who yearned
C11 1040  7    for the power and responsibility of the Presidency,
C11 1050  4    Theodore H& White had already compiled masses of notes
C11 1060  3    about the Presidential campaign of 1960.
C11 1060  9       As the pace of the quadrennial American political
C11 1070  7    festival accelerated, Mr& White took more notes. He
C11 1080  6    traveled alternately with Mr& Kennedy and with Richard
C11 1090  4    M& Nixon.
C11 1090  6       He asked intimate questions and got frank answers
C11 1100  5    from the members of what he calls the candidates' "in-groups".
C11 1110  3    He assembled quantities of facts about the nature of
C11 1120  2    American politics in general, as well as about the
C11 1120 11    day-to-day course of the closest Presidential election
C11 1130  6    in American history.
C11 1140  1       Those of us who read the papers may think we know
C11 1140 12    a good deal about that election; how little we know
C11 1150  7    of what there is to be known is made humiliatingly
C11 1160  3    clear by Mr& White in "The Making of the President
C11 1170  1    1960".
C11 1170  2       This is a remarkable book and an astonishingly interesting
C11 1180  2    one. What might have been only warmed-over topical
C11 1180 11    journalism turns out to be an eyewitness contribution
C11 1190  8    to history. Mr& White, who is only a competent novelist,
C11 1200  8    is a brilliant reporter. His zest for specific detail,
C11 1210  5    his sensitivity to emotional atmosphere, his tireless
C11 1220  3    industry and his crisply turned prose all contribute
C11 1220 11    to the effectiveness of his book.
C11 1230  5    #A LESSON IN POLITICS#
C11 1230  9    As a dramatic narrative "The Making of the President
C11 1240  7    1960" is continuously engrossing. And as an introduction
C11 1250  6    to American politics it is highly educational.
C11 1270  1       The author begins this volume with a close-up of
C11 1270 11    Mr& Kennedy, his family and his entourage waiting for
C11 1280  9    the returns. He then switches back to a consideration
C11 1290  8    of the seven principal Presidential hopefuls: five
C11 1300  3    Democrats- Senator Hubert H& Humphrey, Senator Stuart
C11 1310  3    Symington, Senator Lyndon B& Johnson, Adlai E& Stevenson
C11 1320  3    and Mr& Kennedy- and two Republicans- Governor Rockefeller
C11 1330  2    and Mr& Nixon.
C11 1330  5       Then, in chronological order, Mr& White covers the
C11 1340  6    primary campaigns, the conventions and the Presidential
C11 1350  3    campaign itself. In the process he writes at length
C11 1360  1    about many related matters: the importance of race,
C11 1360  9    religion, local tradition, bosses, organizations, zealous
C11 1370  5    volunteers and television. Mr& White is bluntly frank
C11 1380  6    in his personal opinions. He frequently cites intimate
C11 1390  3    details that seem to come straight from the horse's
C11 1400  1    mouth, from numerous insiders and from Mr& Kennedy
C11 1400  9    himself; but never from Mr& Nixon, who looked on reporters
C11 1410  9    with suspicion and distrust.
C11 1420  2       "Rarely in American history has there been a political
C11 1430  1    campaign that discussed issues less or clarified them
C11 1430  9    less", says Mr& White. Mr& Nixon, he believes, has
C11 1440  9    no particular political philosophy and mismanaged his
C11 1450  5    own campaign. Although a skillful politician and a
C11 1460  4    courageous and honest man, Mr& Nixon, Mr& White believes,
C11 1470  2    ignored his own top-level planners, wasted time and
C11 1470 11    effort in the wrong regions, missed opportunities through
C11 1480  8    indecision and damaged his chances on television.
C11 1490  6       Mr& Nixon is "a broody, moody man, given to long
C11 1500  6    stretches of introspection; he trusts only himself
C11 1510  2    and his wife. **h He is a man of major talent- but
C11 1510 14    a man of solitary, uncertain impulses. **h He was above
C11 1520  9    all a friend seeker, almost pathetic in his eagerness
C11 1530  6    to be liked. He wanted to identify with people and
C11 1540  4    have a connection with them; **h the least inspiring
C11 1550  1    candidate since Alfred M& Landon".
C11 1550  6       Mr& Kennedy, Mr& White believes, "had mastered politics
C11 1560  7    on so many different levels that no other American
C11 1580  2    could match him". Calm, dignified, composed, "superbly
C11 1590  2    eloquent", Mr& Kennedy always knew everything about
C11 1600  2    everybody. He enlisted a staff of loyal experts and
C11 1600 11    of many zealous volunteers. Every decision was made
C11 1610  6    quickly on sound grounds. Efficiency was enforced and
C11 1620  5    nothing was left to chance. Mr& Kennedy did not neglect
C11 1630  4    to cultivate the personal friendship of reporters.
C11 1640  1    Mr& White admires him profoundly and leaves no doubt
C11 1640 10    that he is a Democrat himself who expects Mr& Kennedy
C11 1650  7    to be a fine President.
C11 1660  1    #PRESSURES PORTRAYED#
C11 1660  3    Throughout "The Making of a President" Mr& White shows
C11 1670  4    wonderfully well how the pressures pile up on candidates,
C11 1680  2    how decisions have constantly to be made, how fatigue
C11 1680 11    and illness and nervous strain wear candidates down,
C11 1690  8    how subordinates play key roles. And he makes many
C11 1700  7    interesting comments. Here are several:
C11 1710  1       "The root question in American politics is always:
C11 1720  1    Who's the Man to See? To understand American politics
C11 1720 10    is, simply, to know people, to know the relative weight
C11 1730  9    of names- who are heroes, who are straw men, who controls,
C11 1740  8    who does not. But to operate in American politics one
C11 1750  5    must go a step further- one must build a bridge to
C11 1760  3    such names, establish a warmth, a personal connection".
C11 1760 11       "In the hard life of politics it is well known that
C11 1770 12    no platform nor any program advanced by either major
C11 1780  8    American party has any purpose beyond expressing emotion".
C11 1790  4       "All platforms are meaningless: the program of either
C11 1800  5    party is what lies in the vision and conscience of
C11 1810  2    the candidate the party chooses to lead it".
C11 1820  1       NOSTALGIA WEEK at Lewisohn Stadium, which had begun
C11 1820  9    with the appearance of the 70-year-old Mischa Elman
C11 1830 10    on Tuesday night, continued last night as Lily Pons
C11 1840  7    led the list of celebrities in an evening of French
C11 1850  4    operatic excerpts.
C11 1850  6       Miss Pons is certainly not 70-no singer ever is-
C11 1870  4    and yet the rewards of the evening again lay more in
C11 1880  4    paying tribute to a great figure of times gone by than
C11 1880 15    in present accomplishments. The better part of gallantry
C11 1890  8    might be, perhaps, to honor her perennial good looks
C11 1900  7    and her gorgeous rainbow-hued gown, and to chide the
C11 1910  5    orchestra for not playing in the same keys in which
C11 1920  1    she had chosen to sing.
C11 1920  6       No orchestra, however, could be expected to follow
C11 1930  3    a singer through quite as many adventures with pitch
C11 1930 12    as Miss Pons encountered last night. In all fairness,
C11 1940  9    there were flashes of the great stylist of yesteryear,
C11 1950  7    flashes even of the old consummate vocalism.
C11 1960  2    #@#
C11 1960  3    One such moment came in the breathtaking way Miss Pons
C11 1970  3    sang the cadenza to Meyerbeer's "Shadow Song". The
C11 1980  2    years suddenly fell away at this point. On the whole,
C11 1980 12    however, one must wonder at just what it is that forces
C11 1990 10    a beloved artist to besmirch her own reputation as
C11 2000  5    time marches inexorably on.
C11 2000  9       Sharing the program was the young French-Canadian
C11 2010  8    tenor Richard Verreau, making his stadium debut on
C11 2020  6    this occasion. Mr& Verreau began shakily, with a voice
C11 2030  4    that tended toward an unpleasant whiteness when pushed
C11 2040  1    beyond middle volume. Later on this problem vanished,
C11 2040  9    and the "Flower Song" from Bizet's "Carmen" was beautifully
C11 2050  7    and intelligently projected.
C12 0010  1       Radio is easily outdistancing television in its
C12 0010  8    strides to reach the minority listener. Lower costs
C12 0020  6    and a larger number of stations are the key factors
C12 0030  5    making such specialization possible.
C12 0030  9       The mushrooming of ~FM outlets, offering concerts
C12 0040  7    (both jazz and classical), lectures, and other special
C12 0050  5    events, is a phenomenon which has had a fair amount
C12 0060  4    of publicity.
C12 0060  6       Not so well known is the growth of broadcasting
C12 0070  3    operations aimed wholly or partly at Negro listeners-
C12 0080  3    an audience which, in the United States, comprises
C12 0080 11    some 19,000,000 people with $20,000,000,000 to spend
C12 0090  6    each year.
C12 0090  8       Of course, the nonwhite listener does his share
C12 0100  7    of television watching. He even buys a lot of the products
C12 0110  7    he sees advertised- despite the fact that the copy
C12 0120  3    makes no special bid for his favor and sponsors rarely
C12 0120 13    use any but white models in commercials.
C12 0130  6       But the growing number of Negro-appeal radio stations,
C12 0140  5    plus evidence of strong listener support of their advertisers,
C12 0150  4    give time salesmen an impressive argument as they approach
C12 0160  2    new prospects. It is estimated that more than 600 stations
C12 0170  1    (of a total of 3,400) do a significant amount of programing
C12 0170 12    for the Negro. At least 60 stations devote all of their
C12 0180 10    time to reaching this audience in about half of the
C12 0190  7    50 states.
C12 0190  9       These and other figures and comments have been reported
C12 0200  6    in a special supplement of Sponsor magazine, a trade
C12 0210  4    publication for radio and ~TV advertisers. For 10 years
C12 0220  3    Sponsor has issued an annual survey of the size and
C12 0220 13    characteristics of the Negro market and of successful
C12 0230  8    techniques for reaching this market through radio.
C12 0240  5       In the past 10 years, Sponsor observes, these trends
C12 0250  4    have become apparent:
C12 0250  7    _@_
C12 0250  8       Negro population in the U&S& has increased 25 per
C12 0260  8    cent while the white population was growing by 18 per
C12 0270  6    cent. "The forgotten 15 million"- as Sponsor tagged
C12 0280  3    the Negro market in its first survey- has become a
C12 0290  2    better-remembered 19 million.
C12 0290  6    _@_
C12 0290  7       Advertisers are changing their attitudes, both as
C12 0300  4    to the significance of this market and the ways of
C12 0310  2    speaking to it.
C12 0310  5    _@_
C12 0310  6       Stations programing to Negro listeners are having
C12 0320  3    to upgrade their shows in order to keep pace with rising
C12 0320 14    educational, economic, and cultural levels. Futhermore,
C12 0330  6    the station which wants real prestige must lead or
C12 0340  7    participate in community improvement projects, not
C12 0350  3    simply serve on the air.
C12 0350  8       In the last decade the number of Negro-appeal radio
C12 0360  7    program hours has risen at least 15 per cent, and the
C12 0370  5    number of Negro-appeal stations has increased 30 per
C12 0380  1    cent, according to a research man quoted by Sponsor.
C12 0380 10       A year ago the Negro Radio Association was formed
C12 0390  8    to spur research which the 30-odd member stations are
C12 0400  7    sure will bring in more business.
C12 0410  1       The 1960 census underscored the explosive character
C12 0410  8    of the population growth. It also brought home proof
C12 0420  7    of something a casual observer might have missed: that
C12 0430  5    more than half of the U&S& Negroes live outside the
C12 0440  3    southeastern states. Also, the state with the largest
C12 0450  1    number of Negroes is New York- not in the South at
C12 0450 12    all.
C12 0460  1       In New York City, ~WLIB boasts "more community service
C12 0460  9    programs than any other Negro station" and "one of
C12 0470  9    the largest Negro news staffs in America". And ~WWRL's
C12 0480  7    colorful mobile unit, cruising predominately Negro
C12 0490  4    neighborhoods, is a frequent reminder of that station's
C12 0500  4    round-the-clock dedication to nonwhite interests. Recently,
C12 0510  2    ~WWRL won praise for its expose of particular cases
C12 0520  1    of employment agency deceit. A half-dozen other stations
C12 0520 10    in the New York area also bid for attention of the
C12 0530  9    city's Negro population, up about 50 per cent in the
C12 0540  8    past decade.
C12 0540 10       In all big cities outside the South, and even in
C12 0550  6    small towns within the South, radio stations can be
C12 0560  3    found beaming some or all of their programs at Negro
C12 0560 13    listeners. The Keystone Broadcasting System's Negro
C12 0570  6    network includes 360 affiliated stations, whose signals
C12 0580  6    reach more than half the total U&S& Negro population.
C12 0590  4       One question which inevitably crops up is whether
C12 0600  5    such stations have a future in a nation where the Negro
C12 0610  2    is moving into a fully integrated status.
C12 0610  9       Whatever the long-range impact of integration, the
C12 0620  7    owners of Negro-appeal radio stations these days know
C12 0630  4    they have an audience and that it is loyal. Advertisers
C12 0640  1    have discovered the tendency of Negroes to shop for
C12 0640 10    brand names they have heard on stations catering to
C12 0650  8    their special interests. And many advertisers have
C12 0660  5    been happy with the results of letting a Negro disc
C12 0670  2    jockey phrase the commercial in his own words, working
C12 0670 11    only from a fact sheet.
C12 0680  5       What sets Negro-appeal programing apart from other
C12 0690  2    radio shows? Sponsor magazine notes the stress on popular
C12 0700  1    Negro bands and singers; rhythm-and-blues mood music;
C12 0700 10    "race" music, folk songs and melodies, and gospel programs.
C12 0710  9    Furthermore, news and special presentations inform
C12 0720  5    the listener about groups, projects, and personalities
C12 0730  3    rarely mentioned on a general-appeal station. Advertising
C12 0740  1    copy frequently takes into account matters of special
C12 0740  9    Negro concern.
C12 0750  2       Sponsor quotes John McLendon of the McLendon-Ebony
C12 0760  1    station group as saying that the Southern Negro is
C12 0760 10    becoming conscious of quality and and "does not wish
C12 0770  8    to be associated with radio which is any way degrading
C12 0780  6    to his race; he tends to shy away from the hooting
C12 0790  2    and hollering personalities that originally made Negro
C12 0790  9    radio programs famous".
C12 0800  3       The sociological impact is perhaps most eloquently
C12 0810  2    summed up in this quotation of J& Walter Carroll of
C12 0810 12    ~KSAN, San Francisco:
C12 0820  3       "Negro-appeal radio is more important to the Negro
C12 0830  4    today, because it provides a direct and powerful mirror
C12 0840  2    in which the Negro can hear and see his ambitions,
C12 0840 12    achievements and desires. It will continue to be important
C12 0850  9    as a means of orientation to the Negro, seeking to
C12 0860  6    become urbanized, as he tries to make adjustment to
C12 0870  3    the urban life. Negro radio is vitally necessary during
C12 0880  1    the process of assimilation".
C12 0890  1       Presentation of "The Life and Times of John Sloan"
C12 0890 10    in the Delaware Art Center here suggests a current
C12 0900  9    nostalgia for human values in art.
C12 0910  4       Staged by way of announcing the gift of a large
C12 0920  1    and intimate Sloan collection by the artist's widow,
C12 0920  9    Helen Farr Sloan, to the Wilmington Society of the
C12 0930  8    Fine Arts, the exhibition presents a survey of Sloan's
C12 0940  6    work. From early family portraits, painted before he
C12 0950  4    entered the schools of the Pennsylvania Academy of
C12 0960  1    the Fine Arts, the chronology extends to a group of
C12 0960 11    paintings executed in his last year (1951) and still
C12 0970  8    part of his estate.
C12 0970 12       Few artists have left a life work so eloquent of
C12 0980 10    the period in which they lived. Few who have painted
C12 0990  6    the scenes around them have done so with so little
C12 1000  3    bitterness. The paintings, drawings, prints, and illustrations
C12 1010  1    all reflect the manners, costumes, and mores of America
C12 1010 10    in the first half of the present century.
C12 1020  6       Obviously Sloan's early years were influenced by
C12 1030  4    his close friend Robert Henri. As early as 1928, however,
C12 1040  3    the Sloan style began to change. The dark pigments
C12 1040 12    of the early work were superseded by a brighter palette.
C12 1050 10    The solidity of brush stroke yielded to a hatching
C12 1060  7    technique that finally led to virtual abandonment of
C12 1070  3    American genres in favor of single figure studies and
C12 1080  2    studio nudes.
C12 1080  4       The exhibition presents all phases of Sloan's many-sided
C12 1090  3    art. In addition to the paintings are drawings, prints,
C12 1100  1    and illustrations. Sloan created such works for newspaper
C12 1100  9    supplements before syndication threw him out of a job
C12 1110  9    and sent him to roam the streets of New York, thereby
C12 1120  6    building for America an incomparable city survey from
C12 1130  4    paintings of McSorley's Saloon to breezy clotheslines
C12 1140  1    on city roofs.
C12 1140  4       One of the most appealing of the rooftop canvases
C12 1150  2    is "Sun and Wind on the Roof", with a woman and child
C12 1160  1    bracing themselves against flapping clothes and flying
C12 1160  8    birds. Although there are landscapes in the show (one
C12 1170  8    of the strongest is a vista of "Gloucester Harbor"
C12 1180  3    in 1915), the human element was the compelling factor
C12 1190  2    in Sloan's art.
C12 1190  5       Significant are such canvases as "Bleeker Street,
C12 1200  3    Saturday Night", with its typically American crowd
C12 1210  2    (Sloan never went abroad); the multifigure "Traveling
C12 1210  9    Carnival", in which action is vivified by lighting;
C12 1220  8    or "Carmine Theater, 1912", the only canvas with an
C12 1230  8    ash can (and foraging dog), although Sloan was a member
C12 1240  6    of the famous "Eight", and of the so-called "Ash-Can
C12 1250  5    School", a term he resented.
C12 1250 10       Not all the paintings, however, are of cities. The
C12 1260  8    exhibition touches briefly on his sojourn in the Southwest
C12 1270  7    ("Koshare in the Dust", a vigorous Indian dance, and
C12 1280  4    landscapes suggest the influence of western color on
C12 1290  3    his palette).
C12 1290  5       The fact that Sloan was an extrovert, concerned
C12 1300  2    primarily with what he saw, adds greatly to the value
C12 1300 12    of his art as a human chronicle.
C12 1310  6       There are 151 items in the Wilmington show, including
C12 1320  3    one painting by each member of the "Eight", as well
C12 1330  3    as work by Sloan's friends and students. Supplementing
C12 1330 11    the actual art are memorabilia- correspondence, diaries,
C12 1340  7    books from the artist's library, etc&. All belong to
C12 1350  7    the collection being given to Wilmington over a period
C12 1360  6    of years by Mrs& Sloan, who has cherished such revelatory
C12 1370  3    items ever since she first studied with Sloan at the
C12 1380  2    Art Students League, New York, in the 1920's.
C12 1380 10       To enable students and the public to spot Sloan
C12 1390  9    forgeries, the Delaware Art Center (according to its
C12 1400  6    director, Bruce St& John) will maintain a complete
C12 1410  3    file of photographs of all Sloan works, as well as
C12 1420  1    a card index file. The entire Sloan collection will
C12 1420 10    be made available at the center to all serious art
C12 1430  8    students and historians.
C12 1430 11       The current exhibition, which remains on view through
C12 1440  8    Oct& 29, has tapped 14 major collections and many private
C12 1450  7    sources.
C12 1460  1       Any musician playing Beethoven here, where Beethoven
C12 1460  8    was born, is likely to examine his own interpretations
C12 1470  8    with special care. In a sense, he is offering Bonn
C12 1480  7    what its famous son (who left as a youth) never did-
C12 1490  3    the sound of the composer's mature style.
C12 1490 10       Robert Riefling, who gave the only piano recital
C12 1500  8    of the recently concluded 23rd Beethoven Festival,
C12 1510  4    penetrated deep into the spirit of the style. His readings
C12 1520  3    were careful without being fussy, and they were authoritative
C12 1530  1    without being presumptuous. The 32 ~C minor Variations
C12 1540  1    with which he opened moved fluently yet logically from
C12 1540 10    one to another, leaving the right impression of abundance
C12 1550  7    under discipline.
C12 1560  1       The ~D minor Sonata, Op& 31 No& 2, introduced by
C12 1560 10    dynamically shaped arpeggios, was most engaging in
C12 1570  7    its moments of quasi-recitative- single lines in which
C12 1580  7    the fingers seemed to be feeling their way toward the
C12 1590  3    idea to come. These inwardly dramatic moments showed
C12 1590 11    the kind of "opera style" of which Beethoven was genuinely
C12 1600 10    capable, but which did not take so kindly to the mechanics
C12 1610 11    of staging.
C12 1620  1       Two late Sonatas, Op& 110 and 111, were played with
C12 1620 11    similar insight, the disarming simplicities of the
C12 1630  6    Op& 111 Adagio made plain without ever becoming obvious.
C12 1640  4    The two were separated from each other by the Six Bagatelles
C12 1650  4    of Op& 126. Herr Riefling, in everything he gave his
C12 1660  3    large Beethoven Hall audience, proved himself as an
C12 1660 11    interpreter of unobtrusive authority.
C12 1670  4       Volker Wangenheim, who conducted Bonn's Sta^dtisches
C12 1680  1    Orchester on the following evening, made one more conscious
C12 1690  4    of the process of interpretation. Herr Wangenheim has
C12 1700  2    only recently become the city's music director, and
C12 1700 10    is a young man with a clear flair for the podium.
C12 1710  9       But he weighted the Eighth Symphony, at times, with
C12 1720  5    a shuddering subjectivity which seemed considerably
C12 1730  2    at odds with the music. He might have been hoping,
C12 1730 12    to all appearances, that this relatively sunny symphony,
C12 1740  7    in conjunction with the Choral Fantasy at the end of
C12 1750  9    the program, could amount to something like the Ninth;
C12 1760  6    but no amount of head-tossing could make it so.
C12 1770  4       The conductor's preoccupation with the business
C12 1780  1    of starting and stopping caused occasional raggedness,
C12 1780  8    as with the first orchestra entrance in the Fourth
C12 1790  6    Piano Concerto, but when he put his deliberations and
C12 1800  4    obsequies aside and let the music move as designed,
C12 1810  1    it did so with plenty of spring.
C12 1810  8       The concerto's soloist, Hans Richter-Haaser, played
C12 1820  5    with compensatory ease and economy, though without
C12 1830  2    the consummate plasticity to which we had been treated
C12 1830 11    on the previous evening by Herr Riefling. His was a
C12 1840 10    burgomaster's Beethoven, solid and sensible.
C12 1850  5       Everybody returned after intermission for the miscellaneous
C12 1860  4    sweepings of the Fantasy for Piano, Chorus, and Orchestra
C12 1870  3    in ~C minor, made up by its composer to fill out one
C12 1880  3    of his programs. The entrance of the Sta^dtisches Gesangverein
C12 1890  1    (Bonn's civic chorus) was worth all the waiting, however,
C12 1890 10    as the young Rhenish voices finally brought the music
C12 1900  8    to life.
C12 1900 10       The last program of this festival, which during
C12 1910  8    two weeks had sampled most compositional categories,
C12 1920  3    brought the Cologne Rundfunk-Sinfonie-Orchester and
C12 1930  2    Rundfunkchor to Bonn's gold-filled hall for a performance
C12 1940  1    of the Missa Solemnis.
C13 0010  1       A tribe in ancient India believed the earth was
C13 0010 10    a huge tea tray resting on the backs of three giant
C13 0020  8    elephants, which in turn stood on the shell of a great
C13 0030  7    tortoise. This theory eventually proved inexact. But
C13 0040  2    the primitive method of explaining the unknown with
C13 0040 10    what is known bears at least a symbolic resemblance
C13 0050  7    to the methods of modern science.
C13 0060  1       It is the business of cosmologists, the scientists
C13 0060  9    who study the nature and structure of the universe,
C13 0070  9    to try to solve the great cosmic mysteries by using
C13 0080  5    keys that have clicked open other doors. These keys
C13 0090  3    are the working principles of physics, mathematics
C13 0090 10    and astronomy, principles which are then extrapolated,
C13 0100  6    or projected, to explain phenomena of which we have
C13 0110  6    little or no direct knowledge.
C13 0120  1       In the autumn of 1959, the British Broadcasting
C13 0120  8    Corporation presented a series of talks by four scientists
C13 0130  8    competent in cosmology. Three of these men discussed
C13 0140  5    major theories of the universe while the other acted
C13 0150  2    as a moderator. The participants were Professor H&
C13 0150 10    Bondi, professor of mathematics at King's College,
C13 0160  7    London; Dr& W& B& Bonnor, reader in mathematics at
C13 0170  7    Queen Elizabeth College, London; Dr& R& A& Lyttleton,
C13 0180  6    a lecturer at St& John's College, Cambridge, and a
C13 0190  5    reader in theoretical astronomy at the University of
C13 0200  3    Cambridge; and Dr& G& J& Whitrow, reader in applied
C13 0210  3    mathematics at the Imperial College of Science and
C13 0210 11    Technology, London.
C13 0220  2       Dr& Whitrow functioned as moderator. The programs
C13 0230  2    were so well received by the British public that the
C13 0230 12    arguments have been published in a totally engrossing
C13 0240  8    little book called, "Rival Theories of Cosmology".
C13 0250  4       Dr& Bonnor begins with a discussion of the relativistic
C13 0260  6    theories of the universe, based on the general theory
C13 0270  4    of relativity. First of all, and this has been calculated
C13 0280  1    by observation, the universe is expanding- that is,
C13 0280  9    the galaxies are receding from each other at immense
C13 0290  8    speeds. Because of this Dr& Bonnor holds that the universe
C13 0300  7    is becoming more thinly populated by stars and whatever
C13 0310  5    else is there. This expansion has been going on for
C13 0320  3    an estimated eight billion years.
C13 0320  8    #EXPANDS AND CONTRACTS#
C13 0320 11    Dr& Bonnor supports the idea that the universe both
C13 0330  9    expands and contracts, that in several billion years
C13 0340  6    the expansion will slow up and reverse itself and that
C13 0350  5    the contraction will set in. Then, after many more
C13 0360  2    billions of years, when all the galaxies are whistling
C13 0360 11    toward a common center, this movement will slow down
C13 0370  8    and reverse itself again.
C13 0380  1       Professor Bondi disagrees with the expansion-contraction
C13 0380  8    theory. He supports the steady-state theory which holds
C13 0390  9    that matter is continually being created in space.
C13 0400  5    For this reason, he says, the density of the universe
C13 0410  4    always remains the same even though the galaxies are
C13 0420  1    zooming away in all directions. New galaxies are forever
C13 0420 10    being formed to fill in the gaps left by the receding
C13 0430 10    galaxies.
C13 0430 11       If this is true, then the universe today looks just
C13 0440  9    as it did millions of years ago and as it will look
C13 0450  7    millions of years hence, even though the universe is
C13 0460  2    expanding. For new galaxies to be created, Professor
C13 0460 10    Bondi declares, it would only be necessary for a single
C13 0470 10    hydrogen atom to be created in an area the size of
C13 0480  8    your living room once every few million years. He contends
C13 0490  4    this idea doesn't conflict with experiments on which
C13 0500  2    the principle of conservation of matter and energy
C13 0500 10    is based because some slight error must be assumed
C13 0510  7    in such experiments.
C13 0510 10       Dr& Lyttleton backs the theory that we live in an
C13 0520 10    electric universe and this theory starts with the behavior
C13 0530  8    of protons and electrons. Protons and electrons bear
C13 0540  4    opposite electrical charges which make them attract
C13 0550  1    each other, and when they are joined they make up an
C13 0550 12    atom of hydrogen- the basic building block of matter.
C13 0560  9    The charges of the electron and proton are believed
C13 0570  5    to be exactly equal and opposite, but Dr& Lyttleton
C13 0580  2    is not so sure. Suppose, says Dr& Lyttleton, the proton
C13 0590  1    has a slightly greater charge than the electron (so
C13 0590 10    slight it is presently immeasurable). This would give
C13 0610  6    the hydrogen atom a slight charge-excess.
C13 0620  1       Now if one hydrogen atom were placed at the surface
C13 0630  1    of a large sphere of hydrogen atoms, it would be subject
C13 0630 12    both to the gravitation of the sphere and the charge-excess
C13 0640  9    of all those atoms in the sphere. Because electrical
C13 0650  6    forces (the charge-excess) are far more powerful than
C13 0660  4    gravitation, the surface hydrogen atoms would shoot
C13 0670  1    away from the sphere.
C13 0670  5       Dr& Lyttleton then imagines the universe as a large
C13 0680  4    hydrogen sphere with surface atoms shooting away from
C13 0690  1    it. This, he claims, would reasonably account for the
C13 0690 10    expansion of the universe.
C13 0700  2    #FLEETING GLIMPSE#
C13 0700  4    This slim book, while giving the reader only a fleeting
C13 0710  5    glimpse of the scientific mind confronting the universe,
C13 0720  2    has the appeal that informed conversation always has.
C13 0720 10    Several photographs and charts of galaxies help the
C13 0730  8    non-scientist keep up with the discussion, and the
C13 0740  5    smooth language indicates the contributors were determined
C13 0750  3    to avoid the jargon that seems to work its way into
C13 0750 14    almost every field.
C13 0760  3       It is clear from this discussion that cosmologists
C13 0770  1    of every persuasion look hopefully toward the day when
C13 0770 10    a man-made satellite can be equipped with optical devices
C13 0780  8    which will open up new vistas to science. Presently,
C13 0790  6    the intense absorption of ultra-violet rays in the
C13 0800  4    earth's atmosphere seriously hinders ground observation.
C13 0810  1    These scientists are convinced that a telescope unclouded
C13 0810  9    by the earth's gases will go a long way toward bolstering
C13 0820 10    or destroying cosmic theories.
C13 0830  2       There would seem to be some small solace in the
C13 0840  2    prospect that the missile race between nations is at
C13 0840 11    the same time accelerating the study of the space around
C13 0850  8    us, giving us a long-sought ladder from which to peer
C13 0860  6    at alien regions.
C13 0860  9       In doing away with the tea tray, the elephants and
C13 0870  7    the giant tortoise, science has developed a series
C13 0880  3    of rationally defensible explanations of the cosmos.
C13 0890  1    And although the universe may forever defy understanding,
C13 0890  9    it might even now be finding its match in the imagination
C13 0900  9    of man. "Roots", the new play at the brand-new Mayfair
C13 0910 10    Theater on 46th St& which has been made over from a
C13 0930  8    night club, is about the intellectual and spiritual
C13 0940  3    awakening of an English farm girl. Highly successful
C13 0950  1    in England before its transfer to New York, most of
C13 0950 11    "Roots" is as relentlessly dour as the trappings of
C13 0960  8    the small new theater are gaudy.
C13 0970  2       Only in its final scene, where Beatie Bryant (Mary
C13 0980  1    Doyle) shakes off the disappointment of being jilted
C13 0980  9    by her intellectual lover and proclaims her emancipation
C13 0990  6    do we get much which makes worthwhile the series of
C13 1000  4    boorish rustic happenings we have had to watch for
C13 1010  2    most of the first two and one-half acts.
C13 1010 11       The burden of Mr& Wesker's message is that people
C13 1020  6    living close to the soil (at least in England) are
C13 1030  4    not the happy, fine, strong, natural, earthy people
C13 1040  1    city-bred intellectuals imagine. Rather they are genuine
C13 1040  9    clods, proud of their cloddishness and openly antagonistic
C13 1050  7    to the illuminating influences of aesthetics or thought.
C13 1060  6    They care no more for politics, says Mr& Wesker, than
C13 1070  5    they do for a symphony. Seeming to have roots in the
C13 1080  3    soil, they actually have none in life. They dwell,
C13 1080 12    in short, in the doltish twilight in which peasants
C13 1090  8    and serfs of the past are commonly reported to have
C13 1100  5    lived.
C13 1100  6       But this is a theme which does not take so much
C13 1110  5    time to state as Mr& Wesker dedicates to it. So much
C13 1120  2    untidiness of mind and household does not attract the
C13 1120 11    interest of the theatergoer (unless he has been living
C13 1130  9    in a gilded palace, perhaps, and wants a real big heap
C13 1140  7    of contrast). The messy meals, the washing of dishes,
C13 1150  3    the drying of clothes may be realism, but there is
C13 1150 13    such a thing as redundancy.
C13 1160  5       Now for the good points. Miss Doyle as Beatie has
C13 1170  4    a great fund of animal spirits, a strong voice and
C13 1170 14    a warm smile. She is just home from a sojourn in London
C13 1180 12    where she has become the sweetheart of a young fellow
C13 1190  8    named Ronnie (we never do see him) and has been subjected
C13 1200  7    to a first course in thinking and appreciating, including
C13 1210  2    a dose of good British socialism. But while she is
C13 1220  2    able to tell her retarded family about the new world
C13 1220 12    she has seen open before her, Ronnie has not been able
C13 1230  8    to observe her progress, and instead of appearing at
C13 1240  5    a family party to be looked over like a new bull, he
C13 1250  2    sends Beatie a letter of dismissal.
C13 1250  8       Beatie, getting no sympathy for her misfortune,
C13 1260  6    soon rallies and finds that although she has lost a
C13 1270  4    lover she has gained her freedom. Despite a too long
C13 1270 14    sustained declamatory flight, this final speech is
C13 1280  7    convincing, and we see why British audiences apparently
C13 1290  5    were impressed by "Roots".
C13 1300  1       There were several fairly good minor portraits in
C13 1300  9    the play, including William Hansen's impersonation
C13 1310  4    of a stubborn, rather pathetic father, and Katherine
C13 1320  4    Squire's vigorous characterization of a farm mother
C13 1330  2    who brooked no hifalutin' nonsense from her daughter,
C13 1330 10    or anyone else. But I am afraid Mr& Wesker's meat and
C13 1340 10    potatoes dish isn't well seasoned enough for local
C13 1350  7    audiences.
C13 1360  1       SHAKESPEARE had a word for everything, even for
C13 1360  9    the rain that disrupted Wednesday night's "Much Ado
C13 1370  7    About Nothing" opening the season of free theatre in
C13 1380  7    Central Park.
C13 1380  9       The New York Shakespeare Festival, which is using
C13 1390  7    the Wollman Memorial Skating Rink while its theatre
C13 1400  5    near the Belvedere is being completed, began bravely.
C13 1410  3    Joseph Papp, impassioned founder of the festival and
C13 1420  1    director of "Much Ado", had a vibrant, colorful production
C13 1420 10    under way. Using a wide stage resourcefully he mingled
C13 1430  9    music and dance with Shakespeare's words in a spirited
C13 1440  6    mixture.
C13 1440  7       The audience filled all the seats inside the Wollman
C13 1450  8    enclosure and overflowed onto the lawns outside the
C13 1460  5    fence. The barbed sallies of Beatrice and Benedick,
C13 1470  1    so contemporary to a public inured to the humor of
C13 1470 11    insult, raised chuckles. The simple-minded comedy of
C13 1480  7    Dogberry and Verges, also familiar in a day that responds
C13 1490  7    easily to jokes skimmed off the top of writers' heads,
C13 1500  3    evoked laughter. The vivacity of the masquers' party
C13 1510  2    at Leonato's palace, with the Spanish motif in the
C13 1510 11    music and dancing in honor of the visiting Prince of
C13 1520  9    Arragon, cast a spell of delight.
C13 1530  2    #@#
C13 1530  3    As "Much Ado" turned serious while the insipid Claudio
C13 1540  2    rejected Hero at the altar, a sprinkle began to fall.
C13 1540 12    At first hardly a person in the audience moved, although
C13 1550 10    some umbrellas were opened. But the rain came more
C13 1560  8    heavily, and men and women in light summer clothes
C13 1570  4    began to depart. The grieving Hero and her father,
C13 1580  1    Leonato, followed by the Friar, left the stage. A voice
C13 1580 11    on the loudspeaker system announced that if the rain
C13 1590  8    let up the performance would resume in ten minutes.
C13 1600  6       More than half the audience departed. Some remained
C13 1610  3    in the Wollman enclosure, fortified with raincoats
C13 1620  1    or with newspapers to cover their heads. Others huddled
C13 1620 10    under the trees outside the fence. Twenty minutes after
C13 1630  7    the interruption, although it was still raining, the
C13 1640  6    play was resumed at the point in the fourth act where
C13 1650  3    it had been stopped.
C13 1650  7       Beatrice (Nan Martin) and Benedick (J& D& Cannon)
C13 1660  5    took their places on the stage. In their very first
C13 1670  3    speeches it was clear that Shakespeare, like a Nostradamus,
C13 1680  1    had foreseen this moment.
C13 1680  5       Said Benedick: "Lady Beatrice, have you wept all
C13 1690  5    this while"?
C13 1690  7       Replied Beatrice: "Yea, and I will weep a while
C13 1700  8    longer".
C13 1700  9       The heavens refused to give up their weeping. The
C13 1710  7    gallant company completed Act /4, and got through part
C13 1720  5    of Act /5,. But the final scenes could not be played.
C13 1730  3    If any among the hardy hundreds who sat in the downpour
C13 1740  1    are in doubt about how it comes out, let them take
C13 1740 12    comfort. "Much Ado" ends happily.
C13 1750  4    #@#
C13 1750  5    The Parks Department has done an admirable job of preparing
C13 1760  4    the Wollman Rink for Shakespeare. One could hardly
C13 1770  2    blame Newbold Morris, the Parks Commissioner, for devoting
C13 1780  1    so much grateful mention to the department's technicians
C13 1780  9    who at short notice provided the stage with its rising
C13 1790  8    platforms, its balcony, its generous wings and even
C13 1800  6    its impressive trapdoors for the use of the villains.
C13 1810  2       Eldon Elder, who designed the stage, also created
C13 1820  1    a gay, spacious set that blended attractively with
C13 1820  9    the park background and Shakespeare's lighthearted
C13 1830  4    mood. Mr& Papp has directed a performance that has
C13 1840  4    verve and pace, although he has tolerated obvious business
C13 1850  2    to garner easy laughs where elegance and consistency
C13 1850 10    of style would be preferable.
C14 0010  1       Elisabeth Schwarzkopf sang so magnificently Saturday
C14 0010  7    night at Hunter College that it seems a pity to have
C14 0020 10    to register any complaints. Still a demurrer or two
C14 0030  6    must be entered.
C14 0030  9       Schwarzkopf is, of course, Schwarzkopf. For style
C14 0040  6    and assurance, for a supreme and regal bearing there
C14 0050  4    is still no one who can touch her. If the voice is
C14 0060  2    just a shade less glorious than it used to be, it is
C14 0060 14    still a beautiful instrument, controlled and flexible.
C14 0070  5    Put to the service of lieder of Schubert, Brahms, Strauss
C14 0080  5    and Wolf in a dramatical and musical way, it made its
C14 0090  5    effect with ease and precision.
C14 0090 10       But what has been happening recently might be described
C14 0100  7    as creeping mannerism. Instead of her old confidence
C14 0110  5    in the simplest, purest, most moving musical expression,
C14 0120  2    Miss Schwarzkopf is letting herself be tempted by the
C14 0120 11    classic sin of artistic pride- that subtle vanity that
C14 0130  9    sometimes misleads a great artist into thinking that
C14 0140  7    he or she can somehow better the music by bringing
C14 0150  4    to it something extra, some personal dramatic touch
C14 0160  1    imposed from the outside.
C14 0160  5       The symptoms Saturday night were unmistakable. Clever
C14 0170  3    light songs were overly coy, tragic songs a little
C14 0180  1    too melodramatic. There was an extra pause here, a
C14 0180 10    gasp or a sigh there, here and there an extra little
C14 0190  8    twist of a word or note, all in the interest of effect.
C14 0200  5    The result was like that of a beautiful painting with
C14 0210  2    some of the highlights touched up almost to the point
C14 0210 12    of garishness.
C14 0220  1       There were stunning musical phrases too, and sometimes
C14 0230  1    the deepest kind of musical and poetic absorption and
C14 0230 10    communication. Miss Schwarzkopf and her excellent pianist,
C14 0240  7    John Wustman, often achieved the highest lyrical ideals
C14 0250  5    of the lieder tradition. All the more reason why there
C14 0260  4    should have been no place for the frills; Miss Schwarzkopf
C14 0270  2    is too great an artist to need them.
C14 0280  1       THE dance, dancers and dance enthusiasts (8,500
C14 0280  8    of them) had a much better time of it at Lewisohn Stadium
C14 0290 11    on Saturday night than all had had two nights earlier,
C14 0300  8    when Stadium Concerts presented the first of two dance
C14 0310  6    programs.
C14 0310  7       On Saturday, the orchestra was sensibly situated
C14 0320  4    down on the field, the stage floor was apparently in
C14 0330  2    decent condition for dancing, and the order of the
C14 0330 11    program improved.
C14 0340  1    #@#
C14 0340  2    There was, additionally, a bonus for the Saturday-night
C14 0350  1    patrons. Alvin Ailey and Carmen De Lavallade appeared
C14 0350  9    in the first New York performance of Mr& Ailey's "Roots
C14 0360  8    of the Blues", a work given its premiere three weeks
C14 0370  8    ago at the Boston Arts Festival.
C14 0380  1       Otherwise, the program included, as on Thursday,
C14 0380  8    the Taras-Tchaikovsky "Design for Strings", the Dollar-Britten
C14 0400  1    "Divertimento", the Dollar-De Banfield "The Duel" and
C14 0410  1    the pas de deux from "The Nutcracker".
C14 0410  8       Maria Tallchief and Erik Bruhn, who danced the "Nutcracker"
C14 0420  8    pas de deux, were also seen in the Petipa-Minkus pas
C14 0430  8    de deux from "Don Quixote", another brilliant showpiece
C14 0440  4    that displayed their technical prowess handsomely.
C14 0450  1       Among the other solo ballet dancers of the evening,
C14 0460  1    Elisabeth Carroll and Ivan Allen were particularly
C14 0460  8    impressive in their roles in "The Duel", a work that
C14 0470  9    depends so much upon the precision and incisiveness
C14 0480  4    of the two principal combatants.
C14 0480  9       Mr& Ailey's "Roots of the Blues", an earthy and
C14 0490  9    very human modern dance work, provided strong contrast
C14 0500  6    to the ballet selections of the evening.
C14 0510  3    #@#
C14 0510  4    As Brother John Sellers sang five "blues" to the guitar
C14 0520  4    and drum accompaniments of Bruce Langhorne and Shep
C14 0530  1    Shepard, Mr& Ailey and Miss De Lavallade went through
C14 0530 10    volatile dances that were by turns insinuating, threatening,
C14 0540  8    contemptuous and ecstatic.
C14 0550  2       Their props were two stepladders, a chair and a
C14 0550 11    palm fan. He wore the clothes of a laborer, and she
C14 0560 11    was wondrously seductive in a yellow and orange dress.
C14 0570  7       The cat-like sinuousness and agility of both dancers
C14 0580  6    were exploited in leaps, lifts, crawls and slides that
C14 0590  3    were almost invariably compelling in a work of strong,
C14 0590 12    sometimes almost frightening, tensions. "Roots of the
C14 0600  7    Blues" may not be for gentle souls, but others should
C14 0610  9    welcome its super-charged impact.
C14 0630  1       "PERHAPS it is better to stay at home. The armchair
C14 0630 11    traveler preserves his illusions". This somewhat cynical
C14 0640  7    comment may be found in "Blue Skies, Brown Studies",
C14 0650  8    a collection of travel essays by William Sansom, who
C14 0660  6    would never consider staying home for long. Mr& Sansom
C14 0670  4    is English, bearded, formidably cultivated, the versatile
C14 0680  2    author of numerous volumes of short stories, of novels
C14 0680 11    and of pieces that are neither short stories nor travel
C14 0690 10    articles but something midway between.
C14 0700  3       The only man alive who seems qualified by his learning,
C14 0710  3    his disposition and his addiction to a baroque luxuriance
C14 0720  1    of language to inherit the literary mantle of Sacheverell
C14 0720 10    Sitwell, Mr& Sansom writes of foreign parts with a
C14 0730  9    dedication to decoration worthy of a pastry chef creating
C14 0740  7    a wedding cake for the marriage of a Hungarian beauty
C14 0750  4    (her third) and an American multimillionaire (his fourth).
C14 0760  2    The result is rather wonderful, but so rich as to be
C14 0760 13    indigestible if taken in too thick slices.
C14 0770  7       There are sixteen essays in "Blue Skies, Brown Studies".
C14 0780  6    Most of them were written between 1953 and 1960 and
C14 0790  5    originally appeared in various magazines. All are well
C14 0800  3    written and are overwritten. But, even if Mr& Sansom
C14 0800 12    labors too hard to extract more refinements of meaning
C14 0810  9    and feeling from his travel experiences than the limits
C14 0820  7    of language allow, he still can charm and astound.
C14 0830  4    Too many books and articles are just assembled by putting
C14 0840  2    one word after another. Mr& Sansom actually writes
C14 0840 10    his with a nice ear for a gracefully composed sentence,
C14 0850 10    with an intense relish in all the metaphorical resources
C14 0860  7    of English, with a thick shower of sophisticated, cultural
C14 0870  4    references.
C14 0870  5    #A CONTEMPLATIVE CONNOISSEUR#
C14 0880  1    "I like to sniff a place, and reproduce what it really
C14 0880 12    smells and looks like, its color, its particular kind
C14 0890  9    of life". This is an exact description of what Mr&
C14 0900  7    Sansom does. He ignores guidebook facts. He only rarely
C14 0910  5    tells a personal anecdote and hardly ever sketches
C14 0920  1    an individual or quotes his opinions. It is an over-all
C14 0920 12    impression Mr& Sansom strives for, an impression compounded
C14 0930  8    of visual details, of a savory mixture of smells, of
C14 0940  8    much loving attention to architecture and scenery,
C14 0950  3    of lights and shadows, of intangibles of atmosphere
C14 0960  1    and of echoes of the past.
C14 0960  7       William Sansom writes only about Europe in this
C14 0970  4    book and frequently of such familiar places as London,
C14 0980  1    Vienna, the French Riviera and the Norwegian fjords.
C14 0980  9    But no matter what he writes about he brings to his
C14 0990 10    subject his own original mind and his own sensitive
C14 1000  6    reactions. "A writer lives, at best, in a state of
C14 1010  4    astonishment", he says. "Beneath any feeling he has
C14 1010 12    of the good or the evil of the world lies a deeper
C14 1020 12    one of wonder at it all. To transmit that feeling he
C14 1030  7    writes". This may not be true of many writers, but
C14 1040  4    it certainly is true of Mr& Sansom. So in these pages
C14 1050  2    one can share his wonder at the traditional fiesta
C14 1050 11    of St& Torpetius that still persists in St& Tropez;
C14 1060  7    at the sun and the heat of Mediterranean lands, always
C14 1070  6    much brighter and hotter to an Englishman than to an
C14 1080  4    American used to summers in New York or Kansas City;
C14 1090  2    at the supreme delights to be found in one of the world's
C14 1100  1    finest restaurants, La Bonne Auberge, which is situated
C14 1100  9    on the seacoast twenty miles west of the Nice airport;
C14 1110  8    and at the infinite variety of London.
C14 1120  3       Mr& Sansom can be eloquent in a spectacular way
C14 1130  2    which recalls (to those who recall easily) the statues
C14 1130 11    of Bernini and the gigantic paintings of Tintoretto.
C14 1140  7    He can coin a neat phrase: "a street spattered with
C14 1150  5    an invigoration of people"; tulips with "petals wide
C14 1160  4    and shaggy as a spaniel's ears"; after a snowstorm
C14 1170  2    a landscape smelling "of woodsmoke and clarity". And,
C14 1170 10    for all his lacquered, almost Byzantine self-consciousness,
C14 1180  8    he can make one recognize the aptness of an unexpected
C14 1190  8    comparison.
C14 1190  9    #BEAUTY BORROWED FROM AFAR#
C14 1200  3    In one of his best essays Mr& Sansom expresses his
C14 1210  2    enthusiasm for the many country mansions designed by
C14 1210 10    Andrea Palladio himself that dot the environs of Vicenza.
C14 1220  8    How far that pedimented and pillared style has shed
C14 1230  6    its influence Mr& Sansom reminds us thus:
C14 1240  3       "The white colonnaded, cedar-roofed Southern mansion
C14 1250  1    is directly traceable via the grey and buff stone of
C14 1250 11    grey-skied England to the golden stucco of one particular
C14 1260  8    part of the blue South, the Palladian orbit stretching
C14 1270  5    out from Vicenza: the old mind of Andrea Palladio still
C14 1280  4    smiles from behind many an old rocking chair on a Southern
C14 1290  4    porch, the deep friezes of his architectonic music
C14 1290 12    rise firm above the shallower freeze in the kitchen,
C14 1300  9    his feeling for light and shade brings a glitter from
C14 1310  7    a tall mint julep, his sense of columns framing the
C14 1320  3    warm velvet night has brought together a million couple
C14 1330  1    of mating lips". Nice, even if a trifle gaudy.
C14 1330 10       "Blue Skies, Brown Studies" is illustrated with
C14 1340  6    numerous excellent photographs.
C14 1360  1       IN recent days there have been extensive lamentations
C14 1360  9    over the absence of original drama on television, but
C14 1370  9    not for years have many regretted the passing of new
C14 1380  7    plays on radio. ~WBAI, the listener-supported outlet
C14 1390  2    on the frequency-modulation band, has decided to do
C14 1400  3    what it can to correct this aural void. Yesterday it
C14 1400 13    offered "Poised for Violence", by Jean Reavey.
C14 1410  7       ~WBAI is on the right track: in the sound medium
C14 1420  8    there has been excessive emphasis on music and news
C14 1430  5    and there could and should be a place for theatre,
C14 1440  1    as the Canadian and British Broadcasting Corporations
C14 1440  8    continue to demonstrate. Unfortunately, "Poised for
C14 1450  6    Violence" was not the happiest vehicle with which to
C14 1460  7    make the point.
C14 1460 10    #@#
C14 1460 11    Mrs& Reavey's work is written for the stage- it is
C14 1470 10    mentioned for an off-Broadway production in the fall-
C14 1480  5    and, in addition, employs an avant-garde structure
C14 1490  2    that particularly needs to be seen if comprehension
C14 1500  1    is to be encouraged.
C14 1500  5       The play's device is to explore society's obsession
C14 1510  2    with disaster and violence through the eyes of a group
C14 1520  1    of artist's models who remain part of someone else's
C14 1520 10    painting rather than just be themselves. In a succession
C14 1530  9    of scenes they appear in different guises- patrons
C14 1540  5    of a cafe, performers in a circus and participants
C14 1550  2    in a family picnic- but in each instance they inevitably
C14 1560  1    put ugliness before beauty.
C14 1560  5    #@#
C14 1560  6    Somewhere in Mrs& Reavey's play there is both protest
C14 1570  6    and aspiration of merit. But its relentless discursiveness
C14 1580  2    and determined complexity are so overwhelming that
C14 1590  1    after an hour and a half a listener's stamina begins
C14 1590 11    to wilt. Moreover, her central figures are so busily
C14 1600  7    fulfilling their multitudinous assignments that none
C14 1610  4    emerges as an arresting individual in his own right
C14 1620  2    or as a provocative symbol of mankind's ills.
C14 1620 10       But quite conceivably an altogether different impression
C14 1630  6    will obtain when the work is offered in the theatre
C14 1640  7    and there can be other effects to relieve the burden
C14 1650  3    on the author's words. Which in itself is an immediate
C14 1660  1    reward of the ~WBAI experiment; good radio drama has
C14 1660 10    its own special demands that badly need reinvigoration.
C14 1680  1       A WEEKLY showcase for contemporary music, from the
C14 1680  9    austere archaism of Stravinsky to the bleeps and bloops
C14 1690  9    of electronic music, is celebrating its fourth anniversary
C14 1700  6    this month.
C14 1700  8       Titled "What's New in Music"? the enterprising program
C14 1710  7    is heard Saturday afternoons on radio station ~WQXR.
C14 1720  6       The brief notes introducing each work offer salient
C14 1730  6    historical or technical points, and many listeners
C14 1740  3    are probably grateful for being intelligently taken
C14 1740 10    by the hand through an often difficult maze. The show
C14 1750 10    is programed and written by the station's assistant
C14 1760  6    continuity editor, Chuck Briefer.
C14 1770  1       The first Saturday in each month is set aside for
C14 1770 11    new recordings. Last Saturday's interesting melange
C14 1780  5    included Ernst Toch, Karlheinz Stockhausen, Richard
C14 1790  4    Yardumian and a brief excerpt from a new "space" opera
C14 1800  5    by the Swedish composer, Karl-Birger Blomdahl.
C14 1810  1       Other Saturdays are devoted to studies of a selected
C14 1810 10    American composer, a particular type of music or the
C14 1820  9    music of a given country.
C14 1830  2       It is commendable that a regularly scheduled hour
C14 1830 10    is set aside for an introduction to the contemporary
C14 1840  9    musical scene. But one wishes, when the appetite is
C14 1850  7    whetted, as it was in the case of the all-too-brief
C14 1860  5    excerpt from the Blomdahl opera, that further opportunity
C14 1870  1    would be provided both for hearing the works in their
C14 1870 11    entirety and for a closer analytical look at the sense
C14 1880 10    and nature of the compositions.
C14 1900  1       THE Moiseyev Dance Company dropped in at Madison
C14 1900  9    Square Garden last night for the first of four farewell
C14 1910 10    performances before it brings its long American tour
C14 1920  7    to a close.
C14 1920 10       It is not simply giving a repetition of the program
C14 1930  7    it gave during its New York engagement earlier this
C14 1940  4    season, but has brought back many of the numbers that
C14 1950  2    were on the bill when it paid us its first visit and
C14 1950 14    won everybody's heart.
C14 1960  2       It is good to see those numbers again. The "Suite
C14 1970  1    of Old Russian Dances" that opened that inaugural program
C14 1980  1    with the slow and modest entrance of the maidens and
C14 1980 11    built steadily into typical Moiseyev vigor and warmth;
C14 1990  6    the amusing "Yurochka", in which a hard-to-please young
C14 2000  8    man is given his come-uppance; the lovely (and of course
C14 2010  5    vigorous) "Polyanka" or "The Meadow"; the three Moldavian
C14 2020  4    dances entitled "Zhok"; the sweet and funny little
C14 2030  2    dance about potato planting called "Bul'ba"; and the
C14 2040  2    hilarious picture of social life in an earlier day
C14 2040 11    called "City Quadrille" are all just as good as one
C14 2050  9    remembers them to have been, and they are welcome back.
C14 2070  1       So, for that matter, are the newer dances- the "Kalmuk
C14 2080  3    Dance" with its animal movements, that genial juggling
C14 2090  2    act by Sergei Tsvetkov called "The Platter", the rousing
C14 2100  2    and beautiful betrothal celebration called "Summer",
C14 2100  8    "The Three Shepherds" of Azerbaijan hopping up on their
C14 2110  9    staffs, and, of course, the trenchant "Rock 'n' Roll".
C15 0010  1    As autumn starts its annual sweep, few Americans and
C15 0010 10    Canadians realize how fortunate they are in having
C15 0020  7    the world's finest fall coloring. Spectacular displays
C15 0030  3    of this sort are relatively rare in the entire land
C15 0040  2    surface of the earth. The only other regions so blessed
C15 0040 12    are the British Isles, western Europe, eastern China,
C15 0050  7    southern Chile and parts of Japan, New Zealand and
C15 0060  7    Tasmania. Their autumn tints are all fairly low keyed
C15 0070  5    compared with the fiery stabs of crimson, gold, purple,
C15 0080  2    bronze, blue and vermilion that flame up in North America.
C15 0090  1    Jack Frost is not really responsible for this great
C15 0090 10    seasonal spectacle; in fact, a freezing autumn dulls
C15 0100  7    the blaze. The best effects come from a combination
C15 0110  4    of temperate climate and plenty of late-summer rain,
C15 0120  1    followed by sunny days and cool nights. Foliage pilgrimages,
C15 0120 10    either organized or individual, are becoming an autumn
C15 0130  8    item for more and more Americans each year. Below is
C15 0140  7    a specific guide, keyed to the calendar.
C15 0150  1    #NATURE#
C15 0150  2    _CANADA._
C15 0150  3       Late September finds Quebec's color at its peak,
C15 0160  5    especially in the Laurentian hills and in the area
C15 0170  1    south of the St& Lawrence River. In the Maritime provinces
C15 0170 11    farther east, the tones are a little quieter. Ontario's
C15 0180  9    foliage is most vivid from about Sept& 23 to Oct& 10,
C15 0190  9    with both Muskoka (100 miles north of Toronto) and
C15 0200  6    Haliburton (125 miles northwest of Toronto) holding
C15 0210  2    color cavalcades starting Sept& 23. In the Canadian
C15 0220  1    Rockies, great groves of aspen are already glinting
C15 0220  9    gold.
C15 0230  1    _NEW ENGLAND._
C15 0230  1       Vermont's sugar maples are scarlet from Sept& 25
C15 0230  9    to Oct& 15, and often hit a height in early October.
C15 0240 10    New Hampshire figures its peak around Columbus Day
C15 0250  6    and boasts of all its hardwoods including the yellow
C15 0260  3    of the birches. The shades tend to be a little softer
C15 0270  1    in the forests that blanket so much of Maine. In western
C15 0270 12    Massachusetts and northwest Connecticut, the Berkshires
C15 0280  6    are at their vibrant prime the first week of October.
C15 0290  7    #MIDDLE ATLANTIC STATES._
C15 0290 10       The Adirondacks blaze brightest in early October,
C15 0300  7    choice routes being 9~N from Saratoga up to Lake George
C15 0310  8    and 73 and 86 in the Lake Placid area. Farther south
C15 0320  5    in New York there is a heavy haze of color over the
C15 0330  3    Catskills in mid-October, notably along routes 23 and
C15 0330 12    23~A. About the same time the Alleghenies and Poconos
C15 0340  9    in Pennsylvania are magnificent- Renovo holds its annual
C15 0350  7    Flaming Foliage Festival on Oct& 14, 15. New Jersey's
C15 0360  7    color varies from staccato to pastel all the way from
C15 0370  7    the Delaware Water Gap to Cape May.
C15 0380  1    _SOUTHEAST._
C15 0380  1       During the first half of October the Blue Ridge
C15 0380 10    and other parts of the Appalachians provide a spectacle
C15 0390  9    stretching from Maryland and West Virginia to Georgia.
C15 0400  7    The most brilliant displays are along the Skyline Drive
C15 0410  6    above Virginia's Shenandoah Valley and throughout the
C15 0420  4    Great Smokies between North Carolina and Tennessee.
C15 0430  1    _MIDWEST._
C15 0430  2       Michigan, Wisconsin and Minnesota have many superb
C15 0440  2    stretches of color which reach their height from the
C15 0440 11    last few days of September well into October, especially
C15 0450  8    in their northern sections, e&g&, Wisconsin's Vilas
C15 0460  4    County whose Colorama celebration is Sept& 29-Oct&
C15 0480  5    8. In Wisconsin, take route 55 north of Shawano or
C15 0490  4    routes 78 and 60 from Portage to Prairie du Chien.
C15 0500  1    In Michigan, there is fine color on route 27 up to
C15 0500 12    the Mackinac Straits, while the views around Marquette
C15 0510  6    and Iron Mountain in the Upper Peninsula are spectacular.
C15 0520  5    In Minnesota, Arrowhead County and route 53 north to
C15 0530  6    International Falls are outstanding. Farther south,
C15 0540  2    there are attractive patches all the way to the Ozarks,
C15 0540 12    with some seasonal peaks as late as early November.
C15 0550  8    Illinois' Shawnee National Forest, Missouri's Iron
C15 0560  5    County and the maples of Hiawatha, Kan& should be at
C15 0570  5    their best in mid-October.
C15 0580  1    _THE WEST._
C15 0580  1       The Rockies have many "Aspencades", which are organized
C15 0580  9    tours of the aspen areas with frequent stops at vantage
C15 0590 10    points for viewing the golden panoramas. In Colorado,
C15 0600  6    Ouray has its Fall Color Week Sept& 22-29, Rye and
C15 0610  6    Salida both sponsor Aspencades Sept& 24, and Steamboat
C15 0620  3    Springs has a week-long Aspencade Sept& 25-30. New
C15 0630  2    Mexico's biggest is at Ruidoso Oct& 7, 8, while Alamogordo
C15 0640  1    and Cloudcroft cooperate in similar trips Oct& 1.
C15 0640  9    #AMERICANA#
C15 0650  1    _PLEASURE DOMES._
C15 0650  3       Two sharply contrasting places designed for public
C15 0660  2    enjoyment are now on display.
C15 0660  7       The Corn Palace at Mitchell, S& Dak&, "the world's
C15 0670  5    corniest building", has a carnival through Sept& 23
C15 0680  3    headlining the Three Stooges and Pee Wee Hunt. Since
C15 0690  2    1892 ears of red, yellow, purple and white corn have
C15 0690 12    annually been nailed to 11 big picture panels to create
C15 0700 10    hugh "paintings". The 1961 theme is the Dakota Territorial
C15 0710  7    Centennial, with the pictures including the Lewis and
C15 0720  5    Clark expedition, the first river steamboat, the 1876
C15 0730  3    gold rush, a little red schoolhouse on the prairie,
C15 0730 12    and today's construction of large Missouri River reservoirs.
C15 0740  8    The panels will stay up until they are replaced next
C15 0750  9    summer.
C15 0750 10       Longwood Gardens, near Kennett Square, Pa& (about
C15 0760  7    12 miles from Wilmington, Del&), was developed and
C15 0770  5    heavily endowed by the late Pierre S& du Pont. Every
C15 0780  4    Wednesday night through Oct& 11 there will be an elaborate
C15 0790  3    colored fountain display, with 229 nozzles throwing
C15 0790 10    jets of water up to 130 feet. The "peacock tail" nozzle
C15 0800 11    throws a giant fan of water 100 feet wide and 40 feet
C15 0810 10    high. The gardens themselves are open free of charge
C15 0820  6    the year round, and the 192 permanent employes make
C15 0830  2    sure that not a dead or wilted flower is ever seen
C15 0830 13    indoors or out by any visitor. The greenhouses alone
C15 0840  7    cover 3-1/2 acres.
C15 0840 11    #BOOKS#
C15 0850  1    _CLOCK WITHOUT HANDS._
C15 0850  4       Carson McCullers, after a long, painful illness
C15 0860  2    that might have crushed a less-indomitable soul, has
C15 0860 11    come back with an absolute gem of a novel which jumped
C15 0870 11    high on best-seller lists even before official publication.
C15 0880  6    Though the subject- segregation in her native South-
C15 0890  5    has been thoroughly worked, Miss McCullers uses her
C15 0900  3    poet's instinct and storyteller's skill to reaffirm
C15 0910  1    her place at the very top of modern American writing.
C15 0910 11    @
C15 0920  1    _FRANNY AND ZOOEY._
C15 0920  3       With an art that almost conceals art, J& D& Salinger
C15 0930  1    can create a fictional world so authentic that it hurts.
C15 0930 11    Here, in the most eagerly awaited novel of the season
C15 0940  9    (his first since The Catcher in the Rye), he tells
C15 0950  7    of a college girl in flight from the life around her
C15 0960  4    and the tart but sympathetic help she gets from her
C15 0970  1    25-year-old brother. @
C15 0970  6    _THE HEAD OF MONSIEUR M&,_
C15 0970 11       Althea Urn. A deft, hilarious satire on very high
C15 0980  8    French society involving a statesman with two enviable
C15 0990  5    possessions, a lovely young bride and a head containing
C15 1000  2    such weighty thoughts that he has occasionally to remove
C15 1010  1    it for greater comfort. There is probably a moral in
C15 1010 11    all this about "mind vs& heart". @
C15 1020  5    _A MATTER OF LIFE AND DEATH._
C15 1020 11       Virgilia Peterson, a critic by trade, has turned
C15 1030  8    her critical eye pitilessly and honestly on herself
C15 1040  5    in an autobiography more of the mind and heart than
C15 1050  3    of specific events. It is an engrossing commentary
C15 1050 11    on a repressive, upper-middle-class New York way of
C15 1060  8    life in the first part of this century. @
C15 1070  3    _DARK RIDER._
C15 1070  5       This retelling by Louis Zara of the brief, anguished
C15 1080  4    life of Stephen Crane- poet and master novelist at
C15 1090  2    23, dead at 28- is in novelized form but does not abuse
C15 1090 14    its tragic subject. @
C15 1100  3    _RURAL FREE,_
C15 1100  5       Rachel Peden. Subtitled A Farmwife's Almanac of
C15 1110  3    Country Living, this is a gentle and nostalgic chronicle
C15 1120  2    of the changing seasons seen through the clear, humorous
C15 1130  1    eye of a Hoosier housewife and popular columnist. @
C15 1130 10    #DANCE#
C15 1130 11    _RUSSIANS, FILIPINOS._
C15 1140  2       Two noted troupes from overseas will get the fall
C15 1150  2    dance season off to a sparkling start. Leningrad's
C15 1150 10    Kirov Ballet, famous for classic purity of technique,
C15 1160  7    begins its first U&S& tour in New York (through Sept&
C15 1170  7    30). The Bayanihan Philippine Dance Company, with music
C15 1180  5    and dances that depict the many facets of Filipino
C15 1190  3    culture, opens its 60-city U&S& tour in San Francisco
C15 1200  1    (through Sept& 24) then, via one-night stands, moves
C15 1200 10    on to Los los Angeles (Sept& 29-Oct& 1).
C15 1210  7    #FESTIVALS#
C15 1220  1    _ACROSS THE LAND._
C15 1220  1       With harvests in full swing, you can enjoy festivals
C15 1220 10    for grapes at Sonoma, Calif& (Sept& 22-24), as well
C15 1230  9    as for cranberries at Bandon, Ore& (Sept& 28-Oct& 1),
C15 1240  8    for buckwheat at Kingwood, W& Va& (Sept& 28-30), sugar
C15 1250  7    cane at New Iberia, La& (Sept& 29-Oct& 1) and tobacco
C15 1260  6    at Richmond, Va& (Sept& 23-30).
C15 1270  1       The mule is honored at Benson, N&C& (Sept& 22,23)
C15 1280  1    and at Boron, Calif& (Sept& 24-Oct& 1), while the legend
C15 1285  1    of the Maid of the Mist is celebrated at Niagara Falls
C15 1290 11    through the 24th. The fine old mansions of U&S& Grant's
C15 1300  9    old home town of Galena, Ill& are open for inspection
C15 1310  7    (Sept& 23, 24). An archery tournament will be held
C15 1320  5    at North Falmouth, Mass& (Sept& 23, 24). The 300th
C15 1330  4    anniversaries of Staten Island (through Sept& 23) and
C15 1340  2    of Mamaroneck, N&Y& (through Sept& 24) will both include
C15 1350  1    parades and pageants.
C15 1350  4    #MOVIES#
C15 1350  5    _PURPLE NOON:_
C15 1350  7       This French film, set in Italy, is a summertime
C15 1360  8    splurge in shock and terror all shot in lovely sunny
C15 1370  5    scenery- so breath-taking that at times you almost
C15 1380  2    forget the horrors the movie is dealing with. But slowly
C15 1380 12    they take over as Alain Delon (LIFE, Sept& 15), playing
C15 1390 10    a sometimes appealing but always criminal boy, casually
C15 1400  7    tells a rich and foot-loose American that he is going
C15 1410  6    to murder him, then does it even while the American
C15 1420  3    is trying to puzzle out how Delon expects to profit
C15 1420 13    from the act.
C15 1430  3    #RECORDS#
C15 1430  4    _NORMA._
C15 1430  5       Callas devotees will have good reason to do their
C15 1440  5    customary cart wheels over a new and complete stereo
C15 1450  1    version of the Bellini opera. Maria goes all out as
C15 1450 11    a Druid princess who gets two-timed by a Roman big
C15 1460  9    shot. By turns, her beautifully sung Norma is fierce,
C15 1470  5    tender, venomous and pitiful. The tenor lead, Franco
C15 1480  2    Corelli, and La Scala cast under Maestro Tullio Serafin
C15 1490  1    are all first rate. @
C15 1500  1    _JEREMIAH PEABODY'S POLYUNSATURATED QUICK DISSOLVING
C15 1510  1    FAST ACTING PLEASANT TASTING GREEN AND PURPLE PILLS._
C15 1510  1       In a raucous take-off on radio commercials, Singer
C15 1510 10    Ray Stevens hawks a cure-all for neuritis, neuralgia,
C15 1520  7    head-cold distress, beriberi, overweight, fungus, mungus
C15 1530  4    and water on the knee. @ Of the nation's eight million
C15 1540  6    pleasure-boat owners a sizable number have learned
C15 1550  3    that late autumn is one of the loveliest seasons to
C15 1550 13    be afloat- at least in that broad balmy region that
C15 1560 11    lies below America's belt line. Waterways are busy
C15 1570  6    right now from the Virginia capes to the Texas coast.
C15 1580  5    There true yachtsmen often find November winds steadier,
C15 1590  2    the waters cooler, the fish hungrier, and rivers more
C15 1590 11    pleasant- less turbulence and mud, and fewer floating
C15 1600 10    logs.
C15 1600 11       More and more boats move overland on wheels (1.8
C15 1610  8    million trailers are now in use) and Midwesterners
C15 1620  4    taking long weekends can travel south with their craft.
C15 1630  2    In the Southwest, the fall brings out flotillas of
C15 1630 11    boatsmen who find the summer too hot for comfort. And
C15 1640 10    on northern shores indomitable sailors from Long Island
C15 1650  5    to Lake Michigan will beat around the buoys in dozens
C15 1660  5    of frostbite races. Some pleasant fall cruising country
C15 1670  2    is mapped out below.
C15 1670  6    #BOATING#
C15 1670  7    _WEST COAST._
C15 1670  9       Pleasure boating is just scooting into its best
C15 1680  8    months in California as crisp breezes bring out craft
C15 1690  5    of every size on every kind of water- ocean, lake and
C15 1700  3    reservoir. Shore facilities are enormous- Los Angeles
C15 1710  1    harbors 5,000 boats, and Long Beach 3,000- but marinas
C15 1710 10    are crowded everywhere. New docks and ramps are being
C15 1720  8    rushed at Playa del Rey, Ventura, Dana Point, Oceanside
C15 1730  5    and Mission Bay.
C15 1730  8       Inland, outboard motorists welcome cooler weather
C15 1740  6    and the chance to buzz over Colorado River sandbars
C15 1750  4    and Lake Mead. Newest small-boat playground is the
C15 1760  3    Salton Sea, a once-dry desert sinkhole which is now
C15 1760 13    a salty lake 42 miles long and 235 feet below sea level.
C15 1770 12    On Nov& 11, 12, racers will drive their flying shingles
C15 1780  8    in 5-mile laps over its 500-mile speedboat course.
C15 1790  3    In San Francisco Bay, winds are gusty and undependable
C15 1810  1    during this season. A sailboat may have a bone in her
C15 1810 12    teeth one minute and lie becalmed the next. But regattas
C15 1820 10    are scheduled right up to Christmas. The Corinthian
C15 1830  7    Yacht Club in Tiburon launches its winter races Nov&
C15 1840  5    5.
C15 1840  6    _GULF COAST._
C15 1840  8       Hurricane Carla damaged 70% of the marinas in the
C15 1850  7    Galveston-Port Aransas area but fuel service is back
C15 1860  5    to normal, and explorers can roam as far west as Port
C15 1870  2    Isabel on the Mexican border. Sailing activity is slowed
C15 1870 11    down by Texas northers, but power cruisers can move
C15 1880  9    freely, poking into the San Jacinto, Trinity and Brazos
C15 1890  6    rivers (fine tarpon fishing in the Brazos) or pushing
C15 1900  5    eastward to the pirate country of Barataria. Off Grand
C15 1910  3    Isle, yachters often visit the towering oil rigs. The
C15 1910 12    Mississippi Sound leads into a protected waterway running
C15 1920  8    about 200 miles from Pascagoula to Apalachicola.
C15 1930  5    _LOWER MISSISSIPPI._
C15 1930  7       Memphis stinkpotters like McKellar Lake, inside
C15 1940  6    the city limits, and sailors look for autumn winds
C15 1950  5    at Arkabutla Lake where fall racing is now in progress.
C15 1960  4    River cruising for small craft is ideal in November.
C15 1970  1    At New Orleans, 25-mile-square Lake Pontchartrain has
C15 1970 10    few squalls and year-long boating. Marinas are less
C15 1980  8    plush than the Florida type but service is good and
C15 1990  6    Creole cooking better.
C15 1990  9    _~TVA LAKES._
C15 2000  1       Ten thousand twisty miles of shoreline frame the
C15 2000  8    30-odd lakes in the vast Tennessee River system that
C15 2010  6    loops in and out of seven states. When dam construction
C15 2020  4    began in 1933, fewer than 600 boats used these waters;
C15 2030  2    today there are 48,500.
C16 0010  1       A YEAR ago it was bruited that the primary character
C16 0020  1    in Erich Maria Remarque's new novel was based on the
C16 0030  9    Marquis Alfonso de Portago, the Spanish nobleman who
C16 0040  7    died driving in the Mille Miglia automobile race of
C16 0050  4    1957. If this was in fact Mr& Remarque's intention
C16 0060  2    he has achieved a notable failure. Clerfayt of "Heaven
C16 0070  1    Has No Favorites" resembles Portago only in that he
C16 0070 10    is male and a race-driver- quite a bad race-driver,
C16 0080  9    whereas Portago was a good one. He is a dull, unformed,
C16 0090  7    and aimless person; the twelfth Marquis de Portago
C16 0100  3    was intelligent, purposeful, and passionate.
C16 0110  1       One looked forward to Mr& Remarque's ninth book
C16 0110  8    if only because not even a reasonably good novel has
C16 0120  8    yet been written grounded on automobile racing, as
C16 0130  3    dramatic a sport as mankind has devised. Unhappily,
C16 0140  1    "Heaven Has No Favorites" does not alter the record
C16 0140 10    except to add one more bad book to the list.
C16 0150  9       Mr& Remarque's conception of this novel was sound
C16 0160  6    and perhaps even noble. He proposed throwing together
C16 0170  2    a man in an occupation of high hazard and a woman balanced
C16 0180  1    on a knife-edge between death from tuberculosis and
C16 0180 10    recovery. His treatment of it is something else. His
C16 0190  8    heroine chooses to die- the price of recovery, years
C16 0200  5    under the strict regimen of a sanatorium, being higher
C16 0210  2    than she wishes to pay. Her lover precedes her in death,
C16 0210 13    at the wheel, and presumably he too has chosen. Between
C16 0220 10    the first meeting of Clerfayt and Lillian and this
C16 0230  7    dismal denouement, Mr& Remarque has laid down many
C16 0240  5    pages of junior-philosophical discourse, some demure
C16 0250  1    and rather fetching love-making, pleasant talk about
C16 0250  9    some of the countryside and restaurants of Europe,
C16 0260  6    and a modicum of automobile racing. The ramblings on
C16 0270  4    life, death, and the wonder of it all are distressing;
C16 0280  1    the love-making, perhaps because it is pale and low-key
C16 0280 12    when one has been conditioned to expect harsh colors
C16 0290  9    and explicitness, is often charming; the automobile
C16 0300  5    racing bears little relation to reality.
C16 0310  1       This latter failure is more than merely bad reportage
C16 0310 10    and it is distinctly more important than it would have
C16 0320 10    been had the author drawn Clerfayt as, say, a tournament
C16 0330  7    golfer. Hazards to life and limb on the golf course,
C16 0340  6    while existent, are actuarially insignificant. Race-drivers,
C16 0350  3    on the other hand, are quite often killed on the circuit,
C16 0360  1    and since it was obviously Mr& Remarque's intention
C16 0360  9    to establish automobile racing as life in microcosm,
C16 0370  7    one might reasonably have expected him to demonstrate
C16 0380  5    precise knowledge not only of techniques but of mores
C16 0390  4    and attitudes. He does not. The jacket biography describes
C16 0400  1    him as a former racing driver, and he may indeed have
C16 0400 12    been, although I do not recall having encountered his
C16 0410  8    name either in the records or the literature. Perhaps
C16 0420  5    he has only forgotten a great deal. The book carries
C16 0430  3    a disclaimer in which Remarque says it has been necessary
C16 0440  1    for him to take minor liberties with some of the procedures
C16 0440 12    and formalities of racing. The necessity is not clear
C16 0450  8    to me, and, in any case, to present a case-hardened
C16 0460  6    race-driver as saying he has left his car, which, or
C16 0470  3    whom, he calls "Giuseppe", parked "on the Place Vendome
C16 0480  1    sneering at a dozen Bentleys and Rolls-Royces parked
C16 0480 10    around him" is not a liberty; it is an absurdity.
C16 0490 10       But it is in the matter of preoccupation with death,
C16 0500  6    which is the primary concern of the book, that Remarque's
C16 0510  5    failure is plainest. Clerfayt is neurotic, preoccupied,
C16 0520  2    and passive. To be human, he believes, is to seek one's
C16 0530  1    own destruction: the Freudian "death-wish" cliche inevitably
C16 0540  1    cited whenever laymen talk about auto race-drivers.
C16 0540  9    In point of fact, the race-drivers one knows are nearly
C16 0550  8    always intelligent, healthy technicians who differ
C16 0560  4    from other technicians only in the depth of the passion
C16 0570  2    they feel for the work by which they live. A Clerfayt
C16 0570 13    may moon on about the face of Death in the cockpit;
C16 0580 10    a Portago could say, as he did say to me, "If I die
C16 0590 10    tomorrow, still I have had twenty-eight wonderful years;
C16 0600  3    but I shan't die tomorrow; I'll live to be 105".
C16 0610  4       Clerfayt, transported, may think of the engine driving
C16 0620  2    his car as "a mystical beast under the hood". The Italian
C16 0630  1    master Piero Taruffi, no less sensitive, knows twice
C16 0630  9    the ecstasy though he thinks of a car's adhesion to
C16 0640  9    a wet two-lane road at 165 miles an hour as a matter
C16 0650  6    best expressed in algebraic formulae. Clerfayt, driving,
C16 0660  1    sees himself "a volcano whose cone funneled down to
C16 0660 10    hell"; the Briton Stirling Moss, one of the greatest
C16 0670  9    virtuosi of all time, believes that ultra-fast road-circuit
C16 0680  8    driving is an art form related to ballet.
C16 0690  3       Errors in technical terminology suggest that the
C16 0700  2    over-all translation from the German may not convey
C16 0700 11    quite everything Mr& Remarque hoped to tell us.
C16 0710  7       However, my principal objection in this sort of
C16 0720  6    novel is to the hackneyed treatment of race-drivers,
C16 0730  1    pilots, submariners, atomic researchers, and all the
C16 0730  8    machine-masters of our age as brooding mystics or hysterical
C16 0740  9    fatalists.
C16 0750  1       THE WEST is leaderless, according to this book.
C16 0750  9    In contrast, the East is ably led by such stalwart
C16 0770  9    heroes as Khrushchev, Tito, and Mao. Against this invincible
C16 0780  6    determination to communize the whole world stands a
C16 0790  5    group of nations unable to agree on fundamentals and
C16 0800  2    each refusing to make any sacrifice of sovereignty
C16 0800 10    for the common good of all.
C16 0810  4       It is Field Marshal Montgomery's belief that in
C16 0820  2    most Western countries about 60 per cent of the people
C16 0820 12    do not really care about democracy or Christianity;
C16 0830  6    about 30 per cent call themselves Christians in order
C16 0840  4    to keep up appearances and be considered respectable,
C16 0850  2    and only the last 10 per cent are genuine Christians
C16 0850 12    and believers in democracy.
C16 0860  4       But these Western countries do care about themselves.
C16 0870  3    Each feels intensely national. If, say, the Russians
C16 0880  1    intended to stop Tom Jones' going to the pub, then
C16 0880 11    Tom Jones would fight the Commies. But he would fight
C16 0890  9    for his own liberty rather than for any abstract principle
C16 0900  6    connected with it- such as "cause". For all practical
C16 0910  4    purposes, the West stands disunited, undedicated, and
C16 0920  2    unprepared for the tasks of world leadership.
C16 0920  9       With this barrage, Montgomery of Alamein launches
C16 0930  7    his attack upon the blunderings of the West. Never
C16 0940  6    given to mincing words, he places heavy blame upon
C16 0950  3    the faulty, uncourageous leadership of Britain and
C16 0950 10    particularly America. At war's end leadership in Western
C16 0960  8    Europe passed from Britain because the Labour Government
C16 0970  7    devoted its attention to the creation of a welfare
C16 0980  7    state. With Britain looking inward, overseas problems
C16 0990  2    were neglected and the baton was passed on to the United
C16 1000  1    States.
C16 1000  2       Montgomery believes that she started well. "America
C16 1010  1    gave generously in economic aid and military equipment
C16 1010  9    to friend and foe alike". She pushed wartorn and poverty-stricken
C16 1020 10    nations into prosperity, but she failed to lead them
C16 1030  8    into unity and world peace. America has divided more
C16 1040  5    than she has united the West. The reasons are that
C16 1050  3    America generally believes that she can buy anything
C16 1050 11    with dollars, and that she compulsively strives to
C16 1060  8    be liked. However, she really does not know how to
C16 1070  7    match the quantity of dollars given away by a quality
C16 1080  3    of leadership that is basically needed.
C16 1080  9       But the greater reason for fumbling, stumbling American
C16 1090  6    leadership is due to the shock her pride suffered when
C16 1100  6    the Japanese attacked at Pearl Harbor. "They are determined",
C16 1110  4    Montgomery writes, "not to be surprised again, and
C16 1120  3    now insist on a state of readiness for war which is
C16 1120 14    not only unnecessary, but also creates nervousness
C16 1130  7    **h among other nations in the Western Alliance- not
C16 1140  6    to mention such great suspicions among the nations
C16 1150  3    of the Eastern bloc that any progress towards peaceful
C16 1160  1    coexistence or disarmament is not possible".
C16 1160  7       The net result is that under American leadership
C16 1170  6    the general world situation has become bad. To "Monty",
C16 1180  5    the American people, who in two previous world wars
C16 1190  3    were very reluctant to join the fight, "now look like
C16 1190 13    the nation most likely to lead us all into a third
C16 1200 11    World War".
C16 1200 13    ##
C16 1210  1    AS faulty as has been our leadership clearly the United
C16 1220 10    States must be relied upon to lead. The path to leadership
C16 1230 11    is made clear. Montgomery calls for a leader who will
C16 1240  8    first put the West's own house in order. Such a man
C16 1250  7    must be able and willing to give clear and sensible
C16 1260  2    advice to the whole group, a person in whom all the
C16 1260 13    member nations will have absolute confidence. This
C16 1270  6    leader must be a man who lives above illusions that
C16 1280  4    heretofore have shaped the foreign policy of the United
C16 1290  3    States, namely that Russia will agree to a reunited
C16 1290 12    Germany, that the East German government does not exist,
C16 1300  9    that events in Japan in June 1960 were Communist-inspired,
C16 1310  8    that the true government of China is in Formosa, that
C16 1320  7    Mao was the evil influence behind Khrushchev at the
C16 1330  4    Summit Conference in Paris in May 1960, and that either
C16 1340  2    China or Russia wants or expects war.
C16 1340  9       Such a leader must strengthen ~NATO politically,
C16 1350  5    and establish that true unity about which it has always
C16 1360  6    talked. After drastically overhauling ~NATO, Western
C16 1370  2    leadership should turn to reducing the suspicions that
C16 1380  1    tear apart the East and West. Major to this effort
C16 1380 11    is to get all world powers to withdraw to their own
C16 1390  8    territories, say by 1970. "The West should make the
C16 1400  5    central proposal; but the East would have to show sincerity
C16 1410  4    in carrying it out".
C16 1410  8       "But where is the leader who will handle all these
C16 1420  7    things for us"? Montgomery knew all the national leaders
C16 1430  5    up to the time of Kennedy. The man whom he would select
C16 1440  3    as our leader for this great task is de Gaulle. He
C16 1440 14    alone has the wisdom, the conviction, the tenacity,
C16 1450  8    and the courage to reach a decision. But de Gaulle
C16 1460  6    is buried in the cause of restoring France's lost soul.
C16 1470  3       Whoever rises to the occasion walks a treacherous
C16 1480  1    path to leadership. The leader Montgomery envisages
C16 1480  8    will need to discipline himself, lead a carefully regulated
C16 1490  8    and orderly life, allow time for quiet thought and
C16 1500  7    reflection, adapt decisions and plans to changing situations,
C16 1510  4    be ruthless, particularly with inefficiency, and be
C16 1520  3    honest and morally proper. All in all, Montgomery calls
C16 1520 12    for a leader who will anticipate and dominate the events
C16 1530  9    that surround him.
C16 1540  1    ##
C16 1540  2    IN LOOKING as far back as Moses, thence to Cromwell,
C16 1550  1    Napoleon, Lincoln, Churchill, and Nehru, Montgomery
C16 1550  7    attempts to trace the stirrings and qualities of great
C16 1560  9    men. He believes that greatness is a marriage between
C16 1570  6    the man and the times as was aptly represented by Churchill,
C16 1580  3    who would very possibly have gone down in history as
C16 1590  2    a political failure if it had not been for Hitler's
C16 1590 12    war.
C16 1600  1       However, Montgomery makes little contribution to
C16 1600  7    leadership theory and practice. Most of what is said
C16 1610  8    about his great men of history has already been said,
C16 1620  5    and what has not is largely irrelevant to the contemporary
C16 1630  1    scene. Like Eisenhower, he holds the militarist's suspicion
C16 1640  1    of politicians. However, at the same time Montgomery
C16 1640  9    selects as his hero de Gaulle, who is a militarist
C16 1650  9    dominated by political ambitions. "Monty" shows a remarkable
C16 1660  5    capacity for the direct statement and an equally remarkable
C16 1670  5    incapacity for giving adequate support. For the most
C16 1680  4    part, his writing rambles and jogs, preventing easy
C16 1680 12    access by the reader to his true thoughts.
C16 1690  8       Nevertheless, Montgomery has stated courageously
C16 1700  4    and wisely the crisis of the Western world. It suffers
C16 1710  3    from a lack of unity of purpose and respect for heroic
C16 1710 14    leadership. And it remains to be seen if the new frontier
C16 1720 11    now taking form can produce the leadership and wisdom
C16 1730  7    necessary to understand the current shape of events.
C16 1750  1       IT IS no common thing for a listener (critical or
C16 1750 11    otherwise) to hear a singer "live" for the first time
C16 1760 10    only after he has died. But then, Mario Lanza was no
C16 1770  9    common singer, and his whole career, public and non-public,
C16 1780  6    was studded with the kind of unconventional happenings
C16 1790  2    that terminate with the appearance of his first "recital"
C16 1800  1    only when he has ceased to be a living voice. It is
C16 1800 13    a kind of justice, too, that it should originate in
C16 1810  9    London's Royal Albert Hall, where, traditionally, the
C16 1820  5    loudest, if not the greatest, performers have entertained
C16 1830  3    the thousands it will accommodate (~RCA Victor ~LM
C16 1840  2    2454, $4.98).
C16 1840  4       To be sure, Lanza made numerous concert tours, here
C16 1850  3    and abroad, but these did not take him to New York
C16 1860  1    where the carping critic might lurk.
C17 0010  1       The reading public, the theatergoing public, the
C17 0010  8    skindiving public, the horse-playing public- all these
C17 0020  6    and others fill substantial roles in U&S& life, but
C17 0030  5    none is so varied, vast and vigilant as the eating
C17 0040  1    public. The Department of Agriculture averaged out
C17 0040  8    U&S& food consumption last year at 1,488 lbs& per person,
C17 0050 10    which, allowing for the 17 million Americans that John
C17 0060  8    Kennedy said go to bed hungry every night, means that
C17 0070  5    certain gluttons on the upper end must somehow down
C17 0080  2    8 lbs& or more a day. That mother hen of the weight-height
C17 0090  1    tables, the Metropolitan Life Insurance Co&, clucks
C17 0090  8    that 48 million Americans are overweight.
C17 0100  4       Through previous centuries, eating changed by nearly
C17 0110  4    imperceptible degrees, and mostly toward just getting
C17 0120  2    enough. Now big forces buffet food. For the first time
C17 0120 12    in history, the U&S& has produced a society in which
C17 0130  9    less than one-tenth of the people turn out so much
C17 0140  8    food that the Government's most embarrassing problem
C17 0150  3    is how to dispose inconspicuously of 100 million tons
C17 0160  2    of surplus farm produce. In this same society, the
C17 0160 11    plain citizen can with an average of only one-fifth
C17 0170  9    his income buy more calories than he can consume. Refrigeration,
C17 0180  5    automated processing and packaging conspire to defy
C17 0190  4    season and banish spoilage. And in the wake of the
C17 0190 14    new affluence and the new techniques of processing
C17 0200  8    comes a new American interest in how what people eat
C17 0210  7    affects their health. To eat is human, the nation is
C17 0220  4    learning to think, to survive divine.
C17 0220 10    #FADS, FACTS **H#
C17 0230  2    Not all the concern for health is well directed. From
C17 0230 12    the fusty panaceas of spinach, eggs and prunes, the
C17 0240  8    U&S& has progressed to curds, concentrates and capsules.
C17 0250  6    Each year, reports the American Medical Association,
C17 0260  3    ten million Americans spend $900 million on vitamins,
C17 0270  2    tonics and other food supplements. At juice bars in
C17 0270 11    Los Angeles' 35 "health" stores, a new sensation is
C17 0280  9    a pink, high-protein cocktail, concocted of dried eggs,
C17 0290  6    powdered milk and cherry-flavored No-Cal, which sells
C17 0300  5    for 59@ per 8-oz& glass. Grocery stores sell dozens
C17 0310  3    of foods that boast of having almost no food value
C17 0310 13    at all.
C17 0320  1       But a big part of the public wants to know facts
C17 0320 12    about diet and health, and a big group of U&S& scientists
C17 0330 10    wants to supply them. The man most firmly at grips
C17 0340  8    with the problem is the University of Minnesota's Physiologist
C17 0350  4    Ancel Keys, 57, inventor of the wartime ~K (for Keys)
C17 0360  4    ration and author of last year's bestselling Eat Well
C17 0370  3    and Stay Well. From his birch-paneled office in the
C17 0380  1    Laboratory of Physiological Hygiene, under the university's
C17 0380  8    football stadium in Minneapolis ("We get a rumble on
C17 0390  9    every touchdown"), blocky, grey-haired Dr& Keys directs
C17 0400  7    an ambitious, $200,000-a-year experiment on diet, which
C17 0410  5    spans three continents and seven nations and is still
C17 0420  4    growing. Pursuing it, he has logged 500,000 miles,
C17 0420 12    suffered indescribable digestive indignities, and meticulously
C17 0430  6    collected physiological data on the health and eating
C17 0440  8    habits of 10,000 individuals, from Bantu tribesmen
C17 0450  4    to Italian contadini. He has measured the skinfolds
C17 0460  3    (the fleshy areas under the shoulder blades) of Neapolitan
C17 0470  1    firemen, studied the metabolism of Finnish woodcutters,
C17 0470  8    analyzed the "mealie-meal" eaten by Capetown coloreds,
C17 0480  8    and experimented on Minneapolis businessmen.
C17 0490  4    #**H AND FATS.#
C17 0490  7    Keys's findings, though far from complete, are likely
C17 0510  7    to smash many an eating cliche. Vitamins, eggs and
C17 0520  4    milk begin to look like foods to hold down on (though
C17 0530  1    mothers' milk is still the ticket). Readings of the
C17 0530 10    number of milligrams of cholesterol in the blood, which
C17 0540  7    seem to have value in predicting heart attacks, are
C17 0550  4    becoming as routine as the electrocardiogram, which
C17 0560  2    can show that the heart has suffered a symptomatic
C17 0560 11    attack. Already many an American knows his count, and
C17 0570  8    rejoices or worries depending on whether it is nearer
C17 0580  6    180 (safe) or 250 (dangerous).
C17 0580 11       Out of cholesterol come Keys's main messages so
C17 0590  8    far:
C17 0590  9       @ Americans eat too much. The typical U&S& daily
C17 0600  8    menu, says Dr& Keys, contains 3,000 calories, should
C17 0610  6    contain 2,300. And extra weight increases the risk
C17 0620  4    of cancer, diabetes, artery disease and heart attack.
C17 0630  1       @ Americans eat too much fat. With meat, milk, butter
C17 0640  1    and ice cream, the calorie-heavy U&S& diet is 40% fat,
C17 0640 12    and most of that is saturated fat- the insidious kind,
C17 0650  9    says Dr& Keys, that increases blood cholesterol, damages
C17 0660  6    arteries, and leads to coronary disease.
C17 0670  2    #OBESITY: A MALNUTRITION.#
C17 0670  5    Throughout much of the world, food is still so scarce
C17 0680  7    that half of the earth's population has trouble getting
C17 0690  4    the 1,600 calories a day necessary to sustain life.
C17 0700  1    The deficiency diseases- scurvy, tropical sprue, pellagra-
C17 0700  8    run rampant. In West Africa, for example, where meat
C17 0710  9    is a luxury and babies must be weaned early to make
C17 0720  7    room at the breast for later arrivals, a childhood
C17 0730  3    menace is kwashiorkor, or "red Johnny", a growth-stunting
C17 0740  1    protein deficiency (signs: reddish hair, bloated belly)
C17 0750  1    that kills more than half its victims, leaves the rest
C17 0750 11    prey for parasites and lingering tropical disease.
C17 0760  5       In the well-fed U&S&, deficiency diseases have virtually
C17 0770  5    vanished in the past 20 years. Today, as Harrison's
C17 0780  3    Principles of Internal Medicine, a standard internist's
C17 0790  2    text, puts it, "The most common form of malnutrition
C17 0800  1    is caloric excess or obesity".
C17 0800  6       Puritan New England regarded obesity as a flagrant
C17 0810  5    symbol of intemperance, and thus a sin. Says Keys:
C17 0820  2    "Maybe if the idea got around again that obesity is
C17 0820 12    immoral, the fat man would start to think". Morals
C17 0830  9    aside, the fat man has plenty to worry about- over
C17 0840  7    and above the fact that no one any longer loves him.
C17 0850  4    The simple mechanical strain of overweight, says New
C17 0860  1    York's Dr& Norman Jolliffe, can overburden and damage
C17 0860  9    the heart "for much the same reason that a Chevrolet
C17 0870 10    engine in a Cadillac body would wear out sooner than
C17 0880  7    if it were in a body for which it was built". The fat
C17 0890  5    man has trouble buying life insurance or has to pay
C17 0900  2    higher premiums. He has- for unclear reasons- a 25%
C17 0900 11    higher death rate from cancer. He is particularly vulnerable
C17 0910  9    to diabetes. He may find even moderate physical exertion
C17 0920  7    uncomfortable, because excess body fat hampers his
C17 0930  5    breathing and restricts his muscular movement.
C17 0940  1       Physiologically, people overeat because what Dr&
C17 0940  7    Jolliffe calls the "appestat" is set too high. The
C17 0950  9    appestat, which adjusts the appetite to keep weight
C17 0960  6    constant, is located, says Jolliffe, in the hypothalamus-
C17 0970  4    near the body's temperature, sleep and water-balance
C17 0980  1    controls. Physical exercise raises the appestat. So
C17 0980  8    does cold weather. In moderate doses, alcohol narcotizes
C17 0990  7    the appestat and enhances appetite (the original reason
C17 1000  5    for the cocktail); but because liquor has a high caloric
C17 1010  5    value- 100 calories per oz&- the heavy drinker is seldom
C17 1020  4    hungry. In rare cases, diseases such as encephalitis
C17 1030  1    or a pituitary tumor may damage the appestat permanently,
C17 1030 10    destroying nearly all sense of satiety.
C17 1040  6    #FOOD FOR FRUSTRATION.#
C17 1040  9    Far more frequently, overeating is the result of a
C17 1055  6    psychological compulsion. It may be fostered by frustration,
C17 1060  6    depression, insecurity- or, in children, simply by
C17 1070  3    the desire to stop an anxious mother's nagging. Some
C17 1080  1    families place undue emphasis on food: conversations
C17 1080  8    center on it, and rich delicacies are offered as rewards,
C17 1090  8    withheld as punishment. The result says Jolliffe: "The
C17 1100  5    child gains the feeling that food is the purpose of
C17 1110  5    life". Food may act as a sedative, giving temporary
C17 1120  1    emotional solace, just as, for some people, alcohol
C17 1120  9    does. Reports Dr& Keys: "A fairly common experience
C17 1130  7    for us is the wife who finds her husband staying out
C17 1140  6    more and more. He may be interested in another woman,
C17 1150  3    or just like being with the boys. So she fishes around
C17 1160  1    in the cupboard and hauls out a chocolate cake. It's
C17 1160 11    a matter of boredom, and the subconscious feeling that
C17 1170  7    she is entitled to something, because she's being deprived
C17 1180  5    of something else".
C17 1180  8       For the army of compulsive eaters- from the nibblers
C17 1190  8    and the gobblers to the downright gluttons- reducing
C17 1200  5    is a war with the will that is rarely won. Physiologist
C17 1210  3    Keys flatly dismisses such appetite depressants as
C17 1220  2    the amphetamines (Benzedrine, Dexedrine) as dangerous
C17 1225  5    "crutches for a weak will".
C17 1230  5       Keys has no such objections to Metrecal, Quaker
C17 1240  2    Oats's Quota and other 900-calorie milk formulas that
C17 1240 11    are currently winning favor from dieters. "Metrecal
C17 1250  7    is a pretty complete food", he says. "It contains large
C17 1260  7    amounts of protein, vitamins and minerals. In the quantity
C17 1270  6    of 900 calories a day, anyone will lose weight on it-
C17 1280  4    20, 30 or 40 lbs&". But Keys worries that the Metrecal
C17 1290  2    drinker will never make either the psychological or
C17 1290 10    physiological adjustment to the idea of eating smaller
C17 1300  8    portions of food.
C17 1300 11    #THAT REMARKABLE CHOLESTEROL.#
C17 1310  3    Despite his personal distaste for obesity ("disgusting"),
C17 1320  2    Dr& Keys has only an incidental interest in how much
C17 1330  4    Americans eat. What concerns him much more is the relationship
C17 1340  1    of diet to the nation's No& 1 killer: coronary artery
C17 1340 11    disease, which accounts for more than half of all heart
C17 1350 10    fatalities and kills 500,000 Americans a year- twice
C17 1360  6    the toll from all varieties of cancer, five times the
C17 1370  5    deaths from automobile accidents.
C17 1370  9       Cholesterol, the cornerstone of Dr& Keys's theory,
C17 1380  7    is a mysterious yellowish, waxy substance, chemically
C17 1390  4    a crystalline alcohol. Scientists assume that cholesterol
C17 1400  4    (from the Greek chole, meaning bile, and sterios, meaning
C17 1410  3    solid) is somehow necessary for the formation of brain
C17 1420  2    cells, since it accounts for about 2% of the brain's
C17 1420 12    total solid weight. They know it is the chief ingredient
C17 1430 10    in gallstones. They suspect it plays a role in the
C17 1440  8    production of adrenal hormones, and they believe it
C17 1450  4    is essential to the transport of fats throughout the
C17 1460  1    circulatory system. But they cannot fully explain the
C17 1460  9    process of its manufacture by the human liver. Although
C17 1470  7    the fatty protein molecules, carried in the blood and
C17 1480  6    partly composed of cholesterol, are water soluble,
C17 1490  1    cholesterol itself is insoluble, and cannot be destroyed
C17 1490  9    by the body. "A remarkable substance", says Dr& Keys,
C17 1500  8    "quite apart from its tendency to be deposited in the
C17 1510  9    walls of arteries".
C17 1520  1       When thus deposited, Keys says that cholesterol
C17 1520  8    is mainly responsible for the arterial blockages that
C17 1530  6    culminate in heart attacks. Explains Keys: As the fatty
C17 1540  5    protein molecules travel in the bloodstream, they are
C17 1550  3    deposited in the intima, or inner wall of a coronary
C17 1550 13    artery. The proteins and fats are burned off, and the
C17 1560 10    cholesterol is left behind. As cholesterol piles up,
C17 1570  6    it narrows, irritates and damages the artery, encouraging
C17 1580  3    formation of calcium deposits and slowing circulation.
C17 1590  1    Eventually, says Keys, one of two things happens. A
C17 1590 10    clot forms at the site, seals off the flow of blood
C17 1600 10    to the heart and provokes a heart attack. Or (more
C17 1610  6    commonly, thinks Keys) the deposits themselves get
C17 1620  2    so big that they choke off the artery's flow to the
C17 1620 13    point that an infarct occurs: the heart muscle is suffocated,
C17 1630  9    cells supplied by the artery die, and the heart is
C17 1640  9    permanently, perhaps fatally injured.
C17 1650  1    #FATS + CORONARIES.#
C17 1650  4    Ordinarily, the human liver synthesizes only enough
C17 1660  3    cholesterol to satisfy the body's needs- for transportation
C17 1670  1    of fats and for production of bile. Even eggs and other
C17 1670 12    cholesterol-rich foods, eaten in normal amounts, says
C17 1680  7    Dr& Keys, do not materially affect the amount of cholesterol
C17 1690  6    in the blood. But fatty foods do.
C17 1700  2       During World War /2,, doctors in The Netherlands
C17 1710  1    and Scandinavia noted a curious fact: despite the stresses
C17 1710 10    of Nazi occupation, the death rate from coronary artery
C17 1720  8    disease was slowly dropping. Not until long after the
C17 1730  6    war- 1950, in fact- did they get a hint of the reason.
C17 1740  6    That year, Sweden's Haqvin Malmros showed that the
C17 1750  3    sinking death rate neatly coincided with increasingly
C17 1750 10    severe restrictions on fatty foods. That same year
C17 1760  8    the University of California's Dr& Laurance Kinsell,
C17 1770  4    timing oxidation rates of blood fats, stumbled onto
C17 1780  4    the discovery that many vegetable fats cause blood
C17 1790  1    cholesterol levels to drop radically, while animal
C17 1790  8    fats cause them to rise. Here Keys and others, such
C17 1800  7    as Dr& A& E& Ahrens of the Rockefeller Institute, took
C17 1810  5    over to demonstrate the chemical difference between
C17 1820  2    vegetable and animal fats- and even between different
C17 1830  1    varieties of each.
C17 1830  4       All natural food fats fall into one of three categories-
C17 1840  1    saturated, mono-unsaturated and poly-unsaturated. The
C17 1860  1    degree of saturation depends on the number of hydrogen
C17 1860 10    atoms on the fat molecule. Saturated fats can accommodate
C17 1870  7    no more hydrogens. Mono-unsaturated fats have room
C17 1880  4    for two more hydrogens on each molecule, and the poly-unsaturated
C17 1890  5    fat molecule has room for at least four hydrogens.
C17 1900  1       The three fats have similar caloric values (about
C17 1900  9    265 calories per oz&), but each exerts a radically
C17 1910  8    different influence on blood cholesterol.