The Orlando Sentinel from Orlando, Florida • Page 32

1 A daily guide to arts and leisure D-6 The Orlando Sentinel, Monday, March 12, 1984 1 The Far Side By Gary Larson i I 'The Dresser' stands out for remarkable performances The Dresser: The title refers not to a piece of furniture, but to an actor's valet named Norman (Tom Courtenay). The actor, called Sir (Albert Finney), is the star and owner of a Shakespearean theatrical company touring England during World War II. Norman does much more than simply help Sir with his costumes. He's more like a nursemaid. When Sir is despondent, Norman bucks him up.

When Sir puts on his Othello makeup to act in King Lear, it is Norman who corrects him. Based on a play by Ronald Harwood, the film is directed by Peter Yates (Breaking Away, Krull). Tom Courtenay does much the same enjoyable job he did in the stage version of The Dresser. His Norman is a self-effacing, mincing little man, with surprising reserves of intelligence, wit and even bile. But the real star of The Dresser is Albert Finney (Shoot the Moon).

As Sir, Finney gives an aston- Tom Courtenay (left) and Albert Finney their characters are in theatrical company. ishing performance as a hammy actor, without actually becoming a ham himself. It's a difficult, multilayered performance. Always, Finney is perfect. Rated PG, it's at the Fashion Square Cinema.

JAY BOYAR 'And now Edgar's gone Something's going on around Lake Island Center, 450 Harper Winter Park; $7.50 annual club dues plus $2 user fee for Winter Park residents, $10 annually for others. Details: (305) 645-0043. Sunday Bible study: 9:30 and 10:55 a.m.; First Baptist Church of Winter Park, 1021 New York Ave. Details: Bruce Parsons, (305)644-3061. Today Ballroom dancing: 7:30 p.m.; Shuflleboard Center, Sunshine Park, West Livingston Street at North Hughey Avenue, Orlando; $1.50.

Central Florida Glaucoma Center, screenings: 10 a.m. -2 p.m.; 62 W. Miller Orlando; free. To arrange for screening large groups, call (305) 841-5258. Clogging and Western dancing, classes for beginners, intermediates and advanced: 7:15 p.m.; Slovak Gardens, Howell Branch Road, Maitland; $20 for 12 weeks.

Details: Tim and Kathy Register, (305) 830-4168 or (305) 327-1701. Duplicate bridge: 1 p.m.; Bridge Center, 400 W. Livingston Orlando; $1.50 members, $2 others. Details: (305) 425-3294. Fitness Lite-Rhythmic Aerobics, designed for seniors: a.m.

Mondays and Wednesdays; 601 Webster Winter Park; $16 for 2 classes a week for 4 weeks. Details: (305) 644-2650. Healthy Hearts Senior Fitness Program, combining gym and swimming-pool workouts: a.m.; YMCA, 433 N. Mills Orlando; $15 monthly. Details: (305) 896-6901.

HELP (Healthy Eating Lose Pounds), West Orange Memorial Hospital weight-loss and fitness program for those with high blood pressure or diabetes and those who. have been advised by their doctors to lose weight: 6:30 p.m.; First Baptist Church activities building, 125 E. Plant Winter Garden; $2. Details: Mary Alice Willis, (305) 656-1244, Ext. 680.

Lawn bowling: 1:15 p.m.; Dover Shores Playground, intersection of Gaston Foster and Curry Ford roads, Orlando; $10.50 annually or $1 daily. Details: (305) 898-0970. Jewish Community Center 39ers: 1 p.m.; Jewish Community Center, 851 N. Maitland Maitland; free. Details: (305) 339-7843.

St. Patrick's Day Bridge-A-Rama, fifth annual day of fun and prizes with coffee and dessert: 10 a.m.; Orlando Senior Community Center, 420 N. Hughey fee $2. Call (305) 423-9604 to register. Tuesday Aerobic Fitness Program, sponsored by Orlando Bureau of Recreation: a.m.; Colonialtown Community Center, 1204 N.

Fern Creek Orlando; free. Details: Phyllis Schnee, (305) 849-2288. Best Years: 10:30 a.m.; College Park United Methodist Church, 644 W. Princeton Orlando; free. Details: E.J.

Parham, (305) 422-1414. Bingo, sponsored by American Association of Retired Persons: 1 p.m.; Shuffleboard Center, Sunshine Park, West Livingston Street at North Hughey Avenue, Orlando; 25 cents a card. Illinois Club of Central Florida: 1:30 p.m.; Senior Citizens Community Center, 200 Triplet Drive, Casselberry. Details: (305) 647-841 7. Income Tax Assistance, volunteer aid in filling out tax-return forms: p.m.; Maitland Public Library, 501 S.

Maitland Maitland; free. IBEW Retired Members Club, Local Union 606, organization for retired members of International Brotherhood of Electrical Workers and for widows of members: 1 p.m., Union Hall, 820 Virginia Drive, Orlando. Details: Ralph Orcutt, (305) 889-4398. Retired Citizens Association of Florida: 1 p.m.; Baptist Terrace Community Room, 414 E. Pine Orlando; free.

Details: Betty Lindberg, (305) 678-4097. Tuesday Night Dance Club, ballroom dancing to live music: 8:30 p.m.; Syrian Lebanon American Club, 1017 N. Mills Orlando; $3. Details: (305) 898-5351. Wednesday Art class: 9:30 a.m.; fellowship hall of First Baptist Church of Winter Park, 1021 New York $4 per class.

Details: Bruce Parsons, (305) 644-3061 or Robbie Frye, (305) 645-0219. Central Florida Glaucoma Center, screenings: 10 a.m.-2 p.m.; 62 W. Miller Orlando; free. To arrange for screening large groups, call (305) 841-5258. Illlnighters Club, get-together for former or visiting Illinois residents: 7:30 p.m.; Senior Citizens Center, 200 Triplet Drive, Casselberry; free.

Details: (305) 275-8647 after 6 p.m. Income Tax Help, sponsored by American Association of Retired Persons and Internal Revenue Service: p.m.; Orlando Senior Community Center, 420 N. Hughey Orlando; free. Lawn bowling: 1:15 p.m.; Dover Shores Playground, intersection of Gaston Foster and Curry Ford roads, Orlando; $10.50 annually or $1 daily. Details: (305) 898-0970.

Senior Adult Choir, rehearsal: 4 p.m.; choir room of First Baptist Church of Winter Park, 1021 New York Ave. Details: Sue Pearson, (305) 644-3061 Thursday American Association of Retired Persons, Pine Castle Chapter, program about changes in telephone-system operations: 1:30 p.m.; American Legion Hall, 529 Fairlane free. Details: Grace Lite, (305) 855-5255. Ballroom dancing to music by the Silvertones: 7:30 p.m.; Shuffleboard Center, West Livingston Street at North Hughey Avenue, Orlando; $1.50 members, $2.50 others. Duplicate bridge: 1 p.m.; Bridge Center, 400 W.

Livingston Orlando; $1.50 members, $2 others. Details: (305) 425-3294. Income Tax Assistance, volunteer aid in filling out tax-return forms: 2-5 p.m.; Maitland Public Library, 501 S. Maitland Maitland; free. Income Tax Aid, sponsored by American Association of Retired Persons and Internal Revenue Service: p.m.; Orlando Senior Community Center, 420 N.

Hughey Orlando; free. Winter Park Shuffleboard Club, organized play: 1:30 p.m.; Friday Central Florida Stroke Club, swimming and exercise therapy: 2-3 p.m.; Downtown YMCA, 433 N. Mills Orlando; $1 per couple. Details: (305) 273-9404. Healthy Hearts Senior Fitness Program, combining gym and swimming-pool workouts: a.m.; YMCA, 433 N.

Mills Orlando; $15 monthly. Details: (305) 896-6901. National Association of Retired Federal Employees, South Seminole County Chapter 1525: 2 p.m.; Senior Citizen Center, Lake Triplet Drive, Casselberry. Details: Fred Ka-lepp, (305) 869-1265, or Hank Herman, (305) 830-0828. Salvation Army Dunkers: p.m.; Salvation Army, 440 W.

Colonial Drive, Orlando; free. Details: Lenora Sherman, (305) 423-8581 Senior Friendship Club, non-denominational luncheon: 10 a.m.-12:30 p.m.; First United Methodist Church, Wesley Hall, 142 E. Jackson Orlando; $1. Details: Vera Ams-den, (305) 849-6080. St.

Patrick's Day Dance, music by the Silvertones, sing-along Irish ditties under sponsorship of Senior Center: p.m.; 420 N. Hughey Orlando; free. Super Sixties: 11 a.m.-1 p.m.; Tabernacle Baptist Church, 6000 W. Colonial Drive, Orlando; free lunch and transportation. Details: Steve Ware, (305) 295-3086.

Saturday Duplicate bridge: novice game at 9:30 a.m., regular game at 1:30 p.m.; Bridge Center, 400 W. Livingston Orlando; $1 .50 members, $2 others. Details: (305) 425-3294. Mature Years Group, covered-dish supper: 6 p.m.; Wesley Hall, Lockhart United Methodist Church, 7400 Mott Ave. Orlando.

Details: (305) 293-1084. Next Monday Bridge classes: 10 a.m. beginner class, 1 p.m. intermediate class; Senior Community Center, Sunshine Park, 420 N. Hughey Orlando; $8 for 8 weeks.

Details: (305) 423-9604. Healthy Hearts Senior Fitness Program, combining gym and swimming-pool workouts: a.m.; YMCA, 433 N. Mills Orlando; $15 monthly. Details: (305) 896-6901. Jewish Community Center 39ers: 1 p.m.; Jewish Community Center, 851 N.

Maitland Maitland; free. Details: (305) 339-7843. Spring Fling Shuffleboard Tournament: all day; Orlando Shuffleboard Center, West Livingston Street at North Hughey Avenue, Orlando; $7.88 annual membership for city residents over 62, $10 non-city; $1 a day. Each week the Style Calendar publishes these Week Ahead listings of events in Orange, Seminole, Osceola, Lake, Volusia and Brevard counties: Art on Sundays; Seniors on Mondays; Kids on Tuesdays; Special Events on Wednesdays; Singles on Thursdays; and Hobbies and Recreation on Saturdays. To submit a calendar item for consideration by editors, send a letter that gives the name, date, time, place and description of the event; the name of the sponsoring organization; the cost of attending; and the full name and telephone number of a person to call for more information.

Send items to Style Calendar, The Orlando Sentinel, P.O. Box 2833, Orlando, Fla. 32802. Items must be received no later than one week before publication. BERNSTEIN From D-1 People of any age By Norm Bungard SPECIAL TO THE SENTINEL can be registered Why did the original Social Security law find it necessary to use sex-based distinctions in the first place? The law was written in 1935 and was based on sociological conditions that existed at that time.

The wife was generally dependent on a male breadwinner. Most of the gender-based distinctions were designed to protect women as dependents. I understand the January benefit increase is the one that was delayed from last July. Will future increases be payable in July again? No. Any future Social Security and SSI (Supplemental Security Income) benefit increases will be payable in January, provided the cost of living went up at least 3 percent during the previous year.

Is it true that the Social Security tax rate for employees increases for 1984? Yes, but less than one-third of 1 percent. And since employees are allowed a one-time credit covering the full amount of the increase, the effective tax rate for 1984 is the same as under the old law. Employers will pay 7 percent, though. Norm Bungard is assistant district manager in the Social Security Administration's Orlando office. Write to him in care of The Orlando Sentinel, P.O.

Box 1100, Orlando, Fla. 32802-1100. QUESTION: My 5-year-old son just inherited a large sum of money from his grandfather. I wanted to open a savings account for him, and my bank asked for a Social Security number. Is he too young to get a Social Security number? Social Security A ANSWER: No.

Social Security numbers are issued at any age and stay with the person for life. I applied for retirement benefits at my Social Security branch office, but I would like to report a change in earnings. Can I do it at the Social Security office near where I work? Yes. In fact, you may call in the earnings information to any Social Security office, although you will probably find it more convenient to deal with one office for all your transactions. Have all gender-based distinctions been eliminated from the Social Security law? The 1983 amendments eliminated all such distinctions that resulted in a difference in benefits.

and Trouble in Tahiti were presented as a double bill in Houston.) The as-yet-untitled work will open at La Scala, Milan, in June, and play at the Kennedy Center in Washington, D.C., the following month. It was because of his rapid rise as conductor in the '50s that people became aware of Bernstein as a composer. West Side Story notwithstanding, the podium role always tended to overshadow Bernstein's creative achievements among the general public. But Bernstein has never enjoyed the blessing of the American academic establishment of composers, or the critics who travel in those circles, and here the reasons go beyond mere apathy. To his detractors, Bernstein's music is slick, opportunistic and empty.

They see his borrowing and mixing of such diverse elements as Bach and rock, Hebrew liturgy and show tunes, as evidence of a derivative mind. "Eclectic" is a pejorative that he has long suffered. Bernstein stood accused of trying to write 20th-century art music for a 20th-century mass audience, and that, for the academics, was an offense most foul. The situation has always been complicated in that there are essentially two composing Bernsteins. There is Lenny, the secular composer of ballets, musicals and film scores.

Then there is Leonard, the sacred composer of the Jeremiah and Kaddish symphonies, Mass, Chichester Psalms and Dybbuk. One composer seeks mainly to please, the other to pose profound questions about the modern crisis of faith. The two have met and mingled many times, and that has confounded the critics who need to put composers into handy compartments. Bernstein's recent works, notably Halil for flute and orchestra (1981) and the Divertimento written to celebrate the Boston Symphony's centenary (1980), are weak. But he has had creative slumps before and has emerged from them with energies refo-cused.

He may do so again. Bernstein the conductor has long since secured his place in history. With Bernstein the composer, the jury is still out. Bernstein inspires a special adulation in Vienna. He offers no explanation why a city and orchestra long noted for their anti-Semitism should have embraced an American Jewish conductor.

He can only speak of the memorable concerts and operas he has conducted there with the Vienna State Opera and its resident Philharmonic orchestra in 1966. Conversation about distinguished orchestras inevitably turns to the Chicago Symphony. Bernstein's most recent CSO appearances were 33 years ago. He has had invitations to return, but, he says, "my musical family has grown so large that I have very little time to give to those on the outside." His present family includes the Israel Philharmonic, of which he is a guest conductor; the Bavarian Radio Symphony, with which he made a recording of Wagner's Tristan und Isolde; and the New York Philharmonic, of which he is conductor laureate. en destiny that seemed within Bernstein's easy grasp.

His conducting, some critics felt, became less involved as his podium acrobatics grew more mannered. The man once considered the most powerful figure in American music had, it seemed, abandoned his country in favor of the hosannas of Vienna, Tel Aviv and points in between. Now that may be changing. Bernstein is conducting more in the United States. Last month he directed the New York Philharmonic in a reportedly per-fervid Mahler Resurrection symphony.

And Bernstein and the Vienna Philharmonic, of which he is a regular guest conductor, have been making an eight-city American tour. What would Bernstein like posterity to think of him as a musician? "It's funny you should ask that, because just the other day an interviewer for CBS-TV posed a similar question about the difference between fame and immortality. He made the point that in the 19th century immortality was relatively easy to come by, but that true fame was difficult to achieve, since there was no such thing as 'the "I think in the present day the situation is rather reversed. Fame can come very quickly. But I'm not terribly concerned with immortality.

I just hope, as I approach the age of Methuselah, to still be able to make music the best way I can, in every way that I have been privileged to make it, and let others worry about what posterity will say about them." He seems to believe that having a successful American opera is now his best shot at securing fame, if not immortality. Why have so few American operas taken hold in the repertory? Bernstein blames Broadway. He had hoped that native opera would develop out of a Broadway idiom based on what he had achieved in West Side Story. But Broadway turned its back on him, choosing, with the exception of Stephen Sond-heim, to follow a bland, blatantly commercial path. Bernstein returned to writing serious works whose soul still belonged to the theater.

Regardless of who was the betrayer, who the betrayed, the loss to the American musical theater has been profound. What Bernstein wants most now is for A Quiet Place to find its audience. He and librettist Wads-worth are heavily revising the work, adding and subtracting numbers and paring it down to a 2 54 -hour piece that will incorporate Trouble in Tahiti as flashbacks. (The latter opera was written as a sequel to his 1952 satirical success, Tahiti, and A Quiet Place CREALDE From D-1 tors rallied around the changes. In the past, Schreyer says, artists who taught at Crealde worked for a series of administrators.

Now they will work for themselves. They are doing everything from defining responsibility for each task information that will be shown on a chart displayed in a central office to writing programs, teaching, planning and coordinating the maintenance of each studio-art department, he says. Although instructors are taking on extra work in the office and in the classroom without salaries, they are paid by their students through a simple system. The school will divide tuition among instructors depending on how much teaching they do, so those with more classes usually department heads will earn more for doing more. Such an arrangement is temporary, Schreyer says.

Within a year, the center should be in better shape and be able to pay salaries to instructors. Success for a restructured Crealde will mean fiscal responsibility, he says. As long as artist-instructors cooperate with board members, volunteers and each other, the school will live within its means, he says. Piatt agrees. Before his appointment as board chairman, which becomes official this week, he spent a year as Crealde board treasurer and constantly urged a more realistic approach to the center's operation.

The survival measures now going into effect at the center should work, he says. They'll produce a cleaner operation, ending cashflow difficulties and budgetary drains. If the measures don't succeed as well as he believes they will, Piatt says, Crealde won't hesitate to try something else. Eventually, he says, "I hope we'll get to a position where we'll have the freedom to conduct long-range planning, have a larger net of volunteers, stay open for more spontaneous events and act as the hub for wide-ranging events." "Crealde's is a big crisis, but all arts organizations have crises," Clement adds. "Maybe we've been too proud in the past to ask for help, and we don't want to be alarmist.

I think that because of the cooperation and commitment, we're going to make it The thing about spirit is intangible, but without it you have nothing. "We have it." nancial load. Board members worked to raise funds and four or five full-time staff members were employed in those years, Piatt says. At first, outside monetary support was adequate, and Crealde enjoyed a period of prosperity, says board member Barry Smith. But after Crealde's disappointing allocation from the Arts United Fund of Central Florida last year only $29,000 of the $40,000 requested for the operating budget the center was turned down on a series of grant requests.

She isn't sure why every request was denied, but board member Ann Clement believes that one key potential donor chose to give to all the arts through Arts United rather than to individual arts organizations. The typical cultural group earns about 60 percent of its budget, but only 33 percent of Crealde's budget came from earned income last year. The most recent grant rejection came in February. The amount was small, but it was the "last little straw that broke the camel's back," says Clement, who is a former Crealde director and Jenkins' daughter. At the Feb.

16 board meeting, she says, the fact that Crealde was living beyond its means finally hit home. No one seriously considered closing Crealde's doors or dissolving the corporation that night, Clement says. But unless the board found a solution to the center's worsening financial picture, the board knew those were the only alternatives. The "turning point" came when the board let Crealde's public-relations officer go, thereby reducing expenses, and handed over the reorganization and operation of the school to its instructors, Piatt says. Instructors will run the school's five studio-art departments without salaries, says Peter Schreyer, who has headed Crealde's photography department for four years.

That, too, will saye money and will make artists more fully a part of the decision-making process, raising morale, he says. All 17 instruc- WCPX From D-1 while we get everything worked out." As of Friday, Hauff said, WCPX hadn't logged many calls, negative or positive, about the goofs, the labyrinthine new set and snazzy animated opening credits, or the newscasters appearing in formal dress. "Wednesday night," Hauff said, "I was ready to take them out of the tuxedos and say, 'Wait a minute, maybe those things bad He still thinks i was a nice touch for the stations opening week. pared last week's activities to making "a water-assault on a beachhead. We spent the first three days getting shot at and getting bloody.

The fourth day, we finally got up on the beach and started to dig in." Hauff said he was proud of the way his on-air people had borne up under the technical problems and that no serious changes would be made in the newscasts for a while. "As far as we're concerned," he said, "we're pretty much on schedule. I just hope the viewers have been willing to bear with us 4. Hauff said some equipment couldn't be installed until the predawn hours of last Monday. Other equipment, such as the computer that generates Hale's weather-map effects, was shaken up in the move and "had to be rebuilt, wire by wire." Hauff, who believes Thurfday's relatively mistake-free 6 p.m.

telecast was a turning point, com.